Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92
Crosby, Stills & Nash Co-Founder David Crosby Has Died at 81
The Fantasia of Angelo Badalamenti, Veil-Piercing Composer
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of the community gather at the City of Uvalde Town Square for a prayer vigil in the wake of a mass shooting at Robb Elementary School on Tuesday in Uvalde, Texas.","publishDate":1653508174,"status":"inherit","parent":13913932,"modified":1653508674,"caption":"Members of the community gather at the City of Uvalde Town Square for a prayer vigil in the wake of a mass shooting at Robb Elementary School on Tuesday in Uvalde, Texas.","credit":"Jordan Vonderhaar/Getty Images","altTag":"People old and young hold hands on a grassy area outside an elementary school","description":"UVALDE, TX - MAY 24: Members of the community gather at the City of Uvalde Town Square for a prayer vigil in the wake of a mass shooting at Robb Elementary School on May 24, 2022 in Uvalde, Texas. 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Icon, Dies at 83","publishDate":1684955901,"format":"standard","headTitle":"Tina Turner, Rock and Roll Icon, Dies at 83 | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>Tina Turner, a soul and rock powerhouse known for her octave-defying voice and mesmerizing stage moves, has died at the age of 83.\u003c/p>\n\u003cp>Her death was announced in \u003ca href=\"https://www.facebook.com/TinaTurner/posts/pfbid02vTXDmuG5YSzJkE5W1V38YSYVCiopsy1Y779NKEknhHvw1psagk6dPot2KFntAkRJl\">a statement on her official Facebook page\u003c/a>, but offered no details about the cause. In her 2018 memoir, \u003cem>Tina Turner: My Love Story\u003c/em>, Turner detailed a litany of health issues she had dealt with since 2013, including a stroke, intestinal cancer and kidney failure. Her second husband, Erwin Bach, donated a kidney to her in 2017, saving her life.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recording career that spanned six decades, Turner found fame both as a solo artist and in a duo with her first husband, Ike Turner. With the latter, she was inducted into the Rock & Roll Hall of Fame and became a staple of the U.S. pop and R&B charts in the 1960s and ’70s. The duo’s high-energy soul and rock was informed by Tina’s disparate vocal influences. She grew up listening to country music, but had many idols: ’50s R&B singers LaVern Baker and Faye Adams; gospel great Mahalia Jackson and rock pioneer Sister Rosetta Tharpe; blues legend B.B. King; and soul greats Ray Charles and Sam Cooke. Accordingly, she had a malleable and versatile voice, and could unleash a scalding rock growl, or dip into her lower register and sing the smoky blues or velvety R&B numbers. One of Ike & Tina’s most well-known songs, “River Deep, Mountain High,” was even a Phil Spector-produced, orchestral-gospel triumph.\u003c/p>\n\u003cp>An agile vocal interpreter, Turner also made other people’s iconic songs her own — adding a tone of yearning and desperation to The Beatles’ already-pleading “Come Together,” and layering on more of a country twang to The Rolling Stones’ “Honky Tonk Women.” Her signature tune, a fiery transformation of Creedence Clearwater Revival’s laid-back “Proud Mary,” became a showcase for her sultry soul drawl and raspy rock ‘n’ roll yelp. The latter song won Turner her first Grammy Award, for best R&B performance by a duo or group with vocal. She would win eight Grammys overall — including best female rock vocal performance for three years in a row during the ’80s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n-AzcJMkbjA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to her vocal prowess, Turner had a commanding stage presence that was often characterized as “electrifying.” This descriptor somehow always seemed like an understatement: At the microphone, Turner vibrated with energy, like a simmering pot about to boil over, and she possessed natural athleticism that translated to lithe but powerful onstage dancing. “Someone once called Tina ‘the female Mick Jagger,'” \u003cem>Rolling Stone’\u003c/em>s Ben Fong-Torres\u003ca href=\"https://www.rollingstone.com/music/music-features/tales-of-ike-and-tina-turner-237489/\"> wrote\u003c/a> in 1971. “In fact, to be more accurate, one should call Mick ‘the male Tina Turner.'” (This is no mere critical hyperbole: In the same \u003cem>Rolling Stone\u003c/em> feature, Turner herself insinuated that Jagger studied her moves rather closely when she and Ike toured with the Rolling Stones in 1969.) Naturally, when the pair teamed up for a\u003ca href=\"https://www.youtube.com/watch?v=d2c4114eKGQ\"> barnburning cover\u003c/a> of the Jacksons’ “State of Shock” at Live Aid in 1985, the combination was incendiary.\u003c/p>\n\u003cp>Born Anna Mae Bullock on Nov. 26, 1939, Turner grew up in rural Nutbush, Tenn., but also spent time in Knoxville, as her parents moved there for work. Growing up, she had a distant relationship with both her father, who abandoned the family when she was 13, and mother. But performing came naturally, and became her solace. In \u003cem>Tina Turner: My Love Story\u003c/em>, she describes music-filled shopping excursions — being 4 or 5 years old and being paid by salesgirls to sing radio hits she had memorized — and the exhilaration of leading her cousins, half-sister Evelyn, and sister Alline in pretend stage shows. Later, she honed her performing presence further by singing at picnics with a regionally famous trombonist named Mr. Bootsy Whitelaw.\u003c/p>\n\u003cp>Turner moved to St. Louis at age 16 to live with Alline and her mother, and began going to the famed East St. Louis venue Club Manhattan, where she first saw Ike Turner & The Kings of Rhythm. In 1957, she ended up joining the group after her impromptu performance of B.B. King’s “You Know I Love You” wowed the bandleader. The troupe was eventually rechristened the Ike and Tina Turner Revue, highlighting her elevated role.\u003c/p>\n\u003cfigure id=\"attachment_13929597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg\" alt=\"\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner of the husband-and-wife R&B duo Ike & Tina Turner poses for a portrait, circa 1973. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By all accounts, Ike was excessively cruel toward Tina, both personally and professionally. “Looking back, I realize that my relationship with Ike was doomed the day he figured out that I was going to be his meal ticket, his moneymaker,” Turner wrote in \u003cem>My Love Story\u003c/em>. She then described how she was a last-minute replacement to sing on “A Fool In Love” — which became the duo’s first hit, reaching No. 2 on the R&B charts in 1960 — and was impressive enough that a label head told Ike to make Tina the group’s centerpiece. “What went through Ike’s head when he heard that advice?” she continued. “He had to find a way to protect his interests, and that’s when the trouble began.”\u003c/p>\n\u003cp>Over the years, Turner has been open about certain aspects of their time together, although she told the\u003ca href=\"https://www.nytimes.com/2019/09/09/theater/tina-turner-musical.html\"> \u003cem>New York Times\u003c/em>\u003c/a> in 2019 that she’s never divulged all: “I think I’m ashamed. I feel I told enough.” But Ike was mentally controlling — for example, he rechristened her “Tina Turner” and then trademarked the name, both without her consent — and physically abusive. She was nearly penniless when she left him in 1976, while the pair were on tour in Dallas. “I walked out without anything and had to make it on my own for my family and everyone so I just went back to work for myself,” she said during a 2017 appearance on\u003ca href=\"https://people.com/music/tina-turner-ike-abusive-relationship-risked-life/\"> The Jonathan Ross Show\u003c/a>.[aside postid='arts_13894392']\u003c/p>\n\u003cp>Turner had released two solo albums while still performing with Ike, 1974’s \u003cem>Tina Turns the Country On! — \u003c/em>a stripped-down LP featuring her take on songs by Bob Dylan, Dolly Parton and Kris Kristofferson — and 1975’s rock-oriented covers album \u003cem>Acid Queen.\u003c/em> Her first entertainment forays post-split geared toward mainstream fare — the game show \u003cem>Hollywood Squares\u003c/em> and Cher’s variety TV series — and cabaret-style live concerts, as well as two albums that didn’t chart. She also recorded a sleek, electro-pop take on the Temptations’ “Ball of Confusion” on \u003cem>Music Of Quality & Distinction, Volume One\u003c/em>, an album released by Heaven 17 members Martyn Ware and Ian Craig Marsh under the name B.E.F.\u003c/p>\n\u003cp>The year 1984 would be pivotal for Turner. She dueted with David Bowie on the reggae-influenced title track of his \u003cem>Tonight \u003c/em>LP, and finally achieved widespread mainstream success on her own thanks to the blockbuster \u003cem>Private Dancer\u003c/em>. As with “Ball of Confusion,” the album embraced the decade’s slicker, cutting-edge production values—in fact, two songs were co-produced by Ware—while still highlighting Turner’s muscular voice and eclectic influences.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album’s tracklisting included the Mark Knopfler-penned title track, as well as covers of tunes by David Bowie (“1984”), the Beatles (“Help!”), and Ann Peebles (“I Can’t Stand the Rain”). \u003cem>Private Dancer\u003c/em> also featured her first and only solo No. 1 hit, the vulnerable and luxurious “What’s Love Got to Do With It.” The single, which also won Grammy Awards for Record of the Year and Best Female Pop Vocal Performance, boasted a cathartic, lived-in vocal performance that ushered in her sophisticated second act and cemented her reputation as a survivor, a tag and aesthetic she embraced.\u003c/p>\n\u003cp>Turner’s commercial renaissance continued as the decade progressed. She co-starred in the 1985 film \u003cem>Mad Max Beyond Thunderdome\u003c/em>, which spawned the dramatic power ballad “We Don’t Need Another Hero (Thunderdome)” and the Grammy-winning “One of the Living,” and racked up more hits with the Bryan Adams duet “It’s Only Love,” breezy seduction “Typical Male,” and the empowerment anthem “The Best.” With her spiky wig and power miniskirts that showed off her legendary legs, Turner also became an early MTV icon: She\u003ca href=\"https://www.youtube.com/watch?v=TmF8LJtc6Tw\"> performed\u003c/a> at the first-ever MTV Video Music Awards in 1984, and won Best Female Video the following year for “What’s Love Got to Do With It.”\u003c/p>\n\u003cp>Turner continued to be a commercial force into the ’90s, notably thanks to the 1993 biopic, \u003cem>What’s Love Got to Do With It\u003c/em>. Based on her 1986 autobiography, \u003cem>I, Tina\u003c/em>, the movie starred Laurence Fishburne as Ike and Angela Bassett as Tina. Both actors were nominated for Oscars, while Bassett won a Golden Globe for Best Performance by an Actress in a Motion Picture—Comedy/Musical. Turner herself also received a career boost, as the soundtrack song “I Don’t Wanna Fight” became a worldwide hit, including going top 10 in the U.S. In 1995, she landed another prestigious honor, singing the slinky, elegant James Bond theme song “GoldenEye” for the titular film.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Turner, who moved to Switzerland in 1995, started easing up on her workload in the late ’90s and ’00s, and ended up retiring after a 50th anniversary tour in 2009. However, she was still an active steward of her own legacy; in fact she also worked closely on the development of \u003cem>Tina: The Tina Turner Musical\u003c/em>, which opened on Broadway in fall 2019. And at the 2008 Grammy Awards, she performed a\u003ca href=\"https://www.youtube.com/watch?v=-sao4Ki3KHw\"> showstopping version\u003c/a> of “Proud Mary” with Beyoncé. With hindsight, it’s easy to interpret the moment as Turner passing the torch to a younger musician. However, the performance also once again reaffirmed that she was squarely in control of her rich musical legacy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tina+Turner%2C+rock+and+roll+icon%2C+dead+at+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The pioneering vocalist, who played a pivotal role in the history of rock and soul music, had suffered a litany of health issues in recent years.","status":"publish","parent":0,"modified":1705005461,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1803},"headData":{"title":"Tina Turner, Rock and Roll Icon, Dies at 83 | KQED","description":"The pioneering vocalist, who played a pivotal role in the history of rock and soul music, had suffered a litany of health issues in recent years.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Georg Wendt","nprByline":"Annie Zaleski","nprImageAgency":"DPA/AFP via Getty Images","nprStoryId":"834507345","nprApiLink":"http://api.npr.org/query?id=834507345&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/05/24/834507345/tina-turner-rock-and-roll-icon-dead-at-83?ft=nprml&f=834507345","nprRetrievedStory":"1","nprPubDate":"Wed, 24 May 2023 15:14:00 -0400","nprStoryDate":"Wed, 24 May 2023 14:58:26 -0400","nprLastModifiedDate":"Wed, 24 May 2023 15:14:04 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13929587/tina-turner-rock-and-roll-icon-dies-at-83","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tina Turner, a soul and rock powerhouse known for her octave-defying voice and mesmerizing stage moves, has died at the age of 83.\u003c/p>\n\u003cp>Her death was announced in \u003ca href=\"https://www.facebook.com/TinaTurner/posts/pfbid02vTXDmuG5YSzJkE5W1V38YSYVCiopsy1Y779NKEknhHvw1psagk6dPot2KFntAkRJl\">a statement on her official Facebook page\u003c/a>, but offered no details about the cause. In her 2018 memoir, \u003cem>Tina Turner: My Love Story\u003c/em>, Turner detailed a litany of health issues she had dealt with since 2013, including a stroke, intestinal cancer and kidney failure. Her second husband, Erwin Bach, donated a kidney to her in 2017, saving her life.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recording career that spanned six decades, Turner found fame both as a solo artist and in a duo with her first husband, Ike Turner. With the latter, she was inducted into the Rock & Roll Hall of Fame and became a staple of the U.S. pop and R&B charts in the 1960s and ’70s. The duo’s high-energy soul and rock was informed by Tina’s disparate vocal influences. She grew up listening to country music, but had many idols: ’50s R&B singers LaVern Baker and Faye Adams; gospel great Mahalia Jackson and rock pioneer Sister Rosetta Tharpe; blues legend B.B. King; and soul greats Ray Charles and Sam Cooke. Accordingly, she had a malleable and versatile voice, and could unleash a scalding rock growl, or dip into her lower register and sing the smoky blues or velvety R&B numbers. One of Ike & Tina’s most well-known songs, “River Deep, Mountain High,” was even a Phil Spector-produced, orchestral-gospel triumph.\u003c/p>\n\u003cp>An agile vocal interpreter, Turner also made other people’s iconic songs her own — adding a tone of yearning and desperation to The Beatles’ already-pleading “Come Together,” and layering on more of a country twang to The Rolling Stones’ “Honky Tonk Women.” Her signature tune, a fiery transformation of Creedence Clearwater Revival’s laid-back “Proud Mary,” became a showcase for her sultry soul drawl and raspy rock ‘n’ roll yelp. The latter song won Turner her first Grammy Award, for best R&B performance by a duo or group with vocal. She would win eight Grammys overall — including best female rock vocal performance for three years in a row during the ’80s.\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/n-AzcJMkbjA'\n title='//www.youtube.com/embed/n-AzcJMkbjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to her vocal prowess, Turner had a commanding stage presence that was often characterized as “electrifying.” This descriptor somehow always seemed like an understatement: At the microphone, Turner vibrated with energy, like a simmering pot about to boil over, and she possessed natural athleticism that translated to lithe but powerful onstage dancing. “Someone once called Tina ‘the female Mick Jagger,'” \u003cem>Rolling Stone’\u003c/em>s Ben Fong-Torres\u003ca href=\"https://www.rollingstone.com/music/music-features/tales-of-ike-and-tina-turner-237489/\"> wrote\u003c/a> in 1971. “In fact, to be more accurate, one should call Mick ‘the male Tina Turner.'” (This is no mere critical hyperbole: In the same \u003cem>Rolling Stone\u003c/em> feature, Turner herself insinuated that Jagger studied her moves rather closely when she and Ike toured with the Rolling Stones in 1969.) Naturally, when the pair teamed up for a\u003ca href=\"https://www.youtube.com/watch?v=d2c4114eKGQ\"> barnburning cover\u003c/a> of the Jacksons’ “State of Shock” at Live Aid in 1985, the combination was incendiary.\u003c/p>\n\u003cp>Born Anna Mae Bullock on Nov. 26, 1939, Turner grew up in rural Nutbush, Tenn., but also spent time in Knoxville, as her parents moved there for work. Growing up, she had a distant relationship with both her father, who abandoned the family when she was 13, and mother. But performing came naturally, and became her solace. In \u003cem>Tina Turner: My Love Story\u003c/em>, she describes music-filled shopping excursions — being 4 or 5 years old and being paid by salesgirls to sing radio hits she had memorized — and the exhilaration of leading her cousins, half-sister Evelyn, and sister Alline in pretend stage shows. Later, she honed her performing presence further by singing at picnics with a regionally famous trombonist named Mr. Bootsy Whitelaw.\u003c/p>\n\u003cp>Turner moved to St. Louis at age 16 to live with Alline and her mother, and began going to the famed East St. Louis venue Club Manhattan, where she first saw Ike Turner & The Kings of Rhythm. In 1957, she ended up joining the group after her impromptu performance of B.B. King’s “You Know I Love You” wowed the bandleader. The troupe was eventually rechristened the Ike and Tina Turner Revue, highlighting her elevated role.\u003c/p>\n\u003cfigure id=\"attachment_13929597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg\" alt=\"\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner of the husband-and-wife R&B duo Ike & Tina Turner poses for a portrait, circa 1973. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By all accounts, Ike was excessively cruel toward Tina, both personally and professionally. “Looking back, I realize that my relationship with Ike was doomed the day he figured out that I was going to be his meal ticket, his moneymaker,” Turner wrote in \u003cem>My Love Story\u003c/em>. She then described how she was a last-minute replacement to sing on “A Fool In Love” — which became the duo’s first hit, reaching No. 2 on the R&B charts in 1960 — and was impressive enough that a label head told Ike to make Tina the group’s centerpiece. “What went through Ike’s head when he heard that advice?” she continued. “He had to find a way to protect his interests, and that’s when the trouble began.”\u003c/p>\n\u003cp>Over the years, Turner has been open about certain aspects of their time together, although she told the\u003ca href=\"https://www.nytimes.com/2019/09/09/theater/tina-turner-musical.html\"> \u003cem>New York Times\u003c/em>\u003c/a> in 2019 that she’s never divulged all: “I think I’m ashamed. I feel I told enough.” But Ike was mentally controlling — for example, he rechristened her “Tina Turner” and then trademarked the name, both without her consent — and physically abusive. She was nearly penniless when she left him in 1976, while the pair were on tour in Dallas. “I walked out without anything and had to make it on my own for my family and everyone so I just went back to work for myself,” she said during a 2017 appearance on\u003ca href=\"https://people.com/music/tina-turner-ike-abusive-relationship-risked-life/\"> The Jonathan Ross Show\u003c/a>.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894392","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turner had released two solo albums while still performing with Ike, 1974’s \u003cem>Tina Turns the Country On! — \u003c/em>a stripped-down LP featuring her take on songs by Bob Dylan, Dolly Parton and Kris Kristofferson — and 1975’s rock-oriented covers album \u003cem>Acid Queen.\u003c/em> Her first entertainment forays post-split geared toward mainstream fare — the game show \u003cem>Hollywood Squares\u003c/em> and Cher’s variety TV series — and cabaret-style live concerts, as well as two albums that didn’t chart. She also recorded a sleek, electro-pop take on the Temptations’ “Ball of Confusion” on \u003cem>Music Of Quality & Distinction, Volume One\u003c/em>, an album released by Heaven 17 members Martyn Ware and Ian Craig Marsh under the name B.E.F.\u003c/p>\n\u003cp>The year 1984 would be pivotal for Turner. She dueted with David Bowie on the reggae-influenced title track of his \u003cem>Tonight \u003c/em>LP, and finally achieved widespread mainstream success on her own thanks to the blockbuster \u003cem>Private Dancer\u003c/em>. As with “Ball of Confusion,” the album embraced the decade’s slicker, cutting-edge production values—in fact, two songs were co-produced by Ware—while still highlighting Turner’s muscular voice and eclectic influences.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album’s tracklisting included the Mark Knopfler-penned title track, as well as covers of tunes by David Bowie (“1984”), the Beatles (“Help!”), and Ann Peebles (“I Can’t Stand the Rain”). \u003cem>Private Dancer\u003c/em> also featured her first and only solo No. 1 hit, the vulnerable and luxurious “What’s Love Got to Do With It.” The single, which also won Grammy Awards for Record of the Year and Best Female Pop Vocal Performance, boasted a cathartic, lived-in vocal performance that ushered in her sophisticated second act and cemented her reputation as a survivor, a tag and aesthetic she embraced.\u003c/p>\n\u003cp>Turner’s commercial renaissance continued as the decade progressed. She co-starred in the 1985 film \u003cem>Mad Max Beyond Thunderdome\u003c/em>, which spawned the dramatic power ballad “We Don’t Need Another Hero (Thunderdome)” and the Grammy-winning “One of the Living,” and racked up more hits with the Bryan Adams duet “It’s Only Love,” breezy seduction “Typical Male,” and the empowerment anthem “The Best.” With her spiky wig and power miniskirts that showed off her legendary legs, Turner also became an early MTV icon: She\u003ca href=\"https://www.youtube.com/watch?v=TmF8LJtc6Tw\"> performed\u003c/a> at the first-ever MTV Video Music Awards in 1984, and won Best Female Video the following year for “What’s Love Got to Do With It.”\u003c/p>\n\u003cp>Turner continued to be a commercial force into the ’90s, notably thanks to the 1993 biopic, \u003cem>What’s Love Got to Do With It\u003c/em>. Based on her 1986 autobiography, \u003cem>I, Tina\u003c/em>, the movie starred Laurence Fishburne as Ike and Angela Bassett as Tina. Both actors were nominated for Oscars, while Bassett won a Golden Globe for Best Performance by an Actress in a Motion Picture—Comedy/Musical. Turner herself also received a career boost, as the soundtrack song “I Don’t Wanna Fight” became a worldwide hit, including going top 10 in the U.S. In 1995, she landed another prestigious honor, singing the slinky, elegant James Bond theme song “GoldenEye” for the titular film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turner, who moved to Switzerland in 1995, started easing up on her workload in the late ’90s and ’00s, and ended up retiring after a 50th anniversary tour in 2009. However, she was still an active steward of her own legacy; in fact she also worked closely on the development of \u003cem>Tina: The Tina Turner Musical\u003c/em>, which opened on Broadway in fall 2019. And at the 2008 Grammy Awards, she performed a\u003ca href=\"https://www.youtube.com/watch?v=-sao4Ki3KHw\"> showstopping version\u003c/a> of “Proud Mary” with Beyoncé. With hindsight, it’s easy to interpret the moment as Turner passing the torch to a younger musician. However, the performance also once again reaffirmed that she was squarely in control of her rich musical legacy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tina+Turner%2C+rock+and+roll+icon%2C+dead+at+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929587/tina-turner-rock-and-roll-icon-dies-at-83","authors":["byline_arts_13929587"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_6929","arts_1091","arts_12942"],"affiliates":["arts_10778"],"featImg":"arts_13929592","label":"arts_10778"},"arts_13927852":{"type":"posts","id":"arts_13927852","meta":{"index":"posts_1591205157","site":"arts","id":"13927852","score":null,"sort":[1681747476000]},"guestAuthors":[],"slug":"ahmad-jamal-measured-maestro-of-jazz-piano-dies-at-92","title":"Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92","publishDate":1681747476,"format":"standard","headTitle":"Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92 | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>For most jazz performers, a song is part of a performance. For Ahmad Jamal, each song \u003cem>was\u003c/em> a performance. Over the course of a remarkable eight-decade career, Jamal, who passed away Sunday at the age of 92, created stellar recordings both as an ambitious youth and a sagely veteran. \u003c/p>\n\u003cp>Jamal’s death was confirmed by his daughter, Sumayah Jamal. He died Sunday afternoon in Ashley Falls, Mass., after a battle with prostate cancer.\u003c/p>\n\u003cp>Jamal’s influence and admirers spread far and wide in jazz. For instance, Miles Davis found enormous inspiration in his work: In his 1989 autobiography, \u003cem>Miles\u003c/em>, the legendary trumpeter said that Jamal “knocked me out with his concept of space, his lightness of touch, his understatement, and the way he phrases notes and chords and passages.” Miles went on to record Jamal’s “New Rhumba” on his classic 1957 recording \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13925776']His contemporary admirers are just as fervent. Pianist Ethan Iverson, a founding member of the exceptionally popular trio The Bad Plus, said, “All of his pieces are theatrical and contained. In some ways the Bad Plus was an extension of his classic trio.”\u003c/p>\n\u003cp>Pianist Vijay Iyer was just as adamant. “His sense of time is that of a dancer, or a comedian. His left hand stays focused, and his right hand is always in motion, interacting with, leaning on, and shading the pulse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He bends any song to his will, always open to the moment and always pushing the boundaries, willing to override whatever old chestnut he’s playing in search of something profoundly alive.”\u003c/p>\n\u003cp>Jamal was born Frederick Russell Jones in Pittsburgh on July 2, 1930. When he was 3 years old, his uncle challenged him to duplicate what he was playing on the piano, and the youngster actually could. He began formal studies of the piano at the age of 7 and quickly took on an advanced curriculum. He told Eugene Holley Jr. of \u003cem>Wax Poetics\u003c/em> in a 2018 interview, “I studied Art Tatum, Bach, Beethoven, Count Basie, John Kirby, and Nat Cole. I was studying Liszt. I had to know European and American classical music. My mother was rich in spirit, and she led me to another rich person: my teacher, Mary Cardwell Dawson, who started the first African-American opera company in the country.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZmvwCTMO1Lg\u003c/p>\n\u003cp>Jamal grew up in a Pittsburgh community that was rich in jazz history. His neighbors included the legendary pianists Earl Hines, Errol Garner and Mary Lou Williams. As a youth, Jamal delivered newspapers to the household of Billy Strayhorn. When Jamal began his professional career at the age of 14, Art Tatum, an early titan of the keyboard, proclaimed him “a coming great.” During a tour stop in Detroit, Jamal, who was born to Baptist parents, converted to Islam and changed his name. \u003c/p>\n\u003cp>His fluency in European classical music — Jamal disdained the term jazz, preferring American classical music as a descriptor for his work — was a highlight of his style. In a 2001 \u003cem>New York Times\u003c/em> article, Ben Waltzer, a pianist and curriculum director at the University of Chicago, noted, “when we listen to his music, fragments from Ravel’s ‘Bolero’ and Falla’s ‘Ritual Fire Dance’ mingle with the blues, standard songs, melodic catch-phrases from bebop, and the ‘Marseillaise.'”\u003c/p>\n\u003cp>This may not seem remarkable today, when most jazz musicians are conservatory-trained and well versed in art music, from Louis Armstrong to Iannis Xenakis and from Laurie Anderson to John Zorn. But Jamal was a youth when there were significant barriers to African Americans entering the academy. “In Pittsburgh, we didn’t separate the two schools,” he told Waltzer.\u003c/p>\n\u003cp>Jamal’s style went well beyond a diverse range of source material; he expanded the borders and depth of improvisation. “Jazz improvisation is generally understood as a narrative melodic line composed spontaneously in relation to a song’s harmonic structure,” wrote Waltzer. “Jamal broadened this concept by using recurring riffs, vamps and ostinatos — tropes of big-band jazz that were employed as background accompaniment for featured instrumentalists — not just to frame solos, as many musicians did, but as the stuff of improvisation itself.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pMOVImLMq_A\u003c/p>\n\u003cp>In the early and mid-’50s, Jamal led various trios and quartets, before settling into a trio setting with bassist Israel Crosby and drummer Vernel Fournier. In 1958, they released the landmark jazz recording, \u003cem>At The Pershing: But Not For Me\u003c/em>. It is one of the most popular and influential recordings in jazz history. It stayed on the \u003cem>Billboard\u003c/em> Top 200 album chart for an astounding 108 weeks. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WIW0bRcV6Ic\u003c/p>\n\u003cp>Iverson said of the title track, “The classic Jamal Trio with Crosby and Fournier is one of the greatest groups of all time. ‘But Not For Me’ is a perfect three minutes. Literally perfect. There’s nothing better.”\u003c/p>\n\u003cp>The trio’s version of “Poinciana” sparked the popularity of the recording, and it became a signature tune for Jamal. He told \u003cem>Wax Poetics\u003c/em>, “It was a combination of things: Israel Crosby’s lines, what I was playing, and Vernel—if you listen to his work on “Poinciana,” you’d think it was two drummers!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z0e2G32f3IU\u003c/p>\n\u003cp>Jamal visited Africa in 1959. Upon his return to Chicago, he had a failed venture as a club owner, then took a hiatus from recording in the early ’60s. By the middle of the decade, he’d resumed recording and touring. His 1969 album, \u003cem>The Awakening\u003c/em>, was widely hailed for its rendering of jazz standards and originals. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpwxyQh2ZdA\u003c/p>\n\u003cp>His music was found in the soundtracks of movies like \u003cem>M*A*S*H\u003c/em> and \u003cem>The Bridges of Madison County\u003c/em>. In a 1985 episode of NPR’s\u003cem> Piano Jazz\u003c/em>, Jamal told host and fellow piano legend Marian McPartland that his favorite recording was “the next one.” Then he allowed that the \u003cem>Pershing\u003c/em> “was close to perfection.” He also said that he continued to focus on ballads. “They are difficult to play,” he told her, “it takes years of living to read them properly.” In 1994, he was awarded a National Endowment for the Arts Jazz Master Fellowship.\u003c/p>\n\u003cp>He continued making stellar recordings into the past decade. His 2017 release, \u003cem>Marseille\u003c/em>, was noted in the NPR Music Jazz Critics Poll. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-j2YWdiaBa4\u003c/p>\n\u003cp>The recording featured all of the hallmarks that made Jamal a great pianist and bandleader, and the drummer Herlin Riley, like Fournier, was from New Orleans. It prompted Iyer to note that Jamal’s lineage of New Orleanian drummers — Fournier, Idris Muhammad and Riley — suggests rhythm as a ritual or cultural cornerstone. \u003c/p>\n\u003cp>Jamal’s work continued to impress other pianists. In 2014 Matthew Shipp told NPR’s Karen Michel, “His imagination is so deep. One of the joys of listening to him is to see how his fertile imagination interacts with the material he does pick and recombines it into a musical entity that we’ve never heard. I mean, he is a musical architect of the highest order.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Waltzer added, “innovation in jazz can be subtle. Rather than reaching outward to create an overtly revolutionary sound, Mr. Jamal explored the inner workings of the small ensemble to control, shape and dramatize his music.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ahmad+Jamal%2C+measured+maestro+of+the+jazz+piano%2C+dies+at+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Jamal's influence on jazz, including individual artists like Miles Davis, was omnipresent.","status":"publish","parent":0,"modified":1705005618,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1315},"headData":{"title":"Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92 | KQED","description":"Jamal's influence on jazz, including individual artists like Miles Davis, was omnipresent.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Rémy Gabalda","nprByline":"Martin Johnson","nprImageAgency":"AFP via Getty Images","nprStoryId":"846207919","nprApiLink":"http://api.npr.org/query?id=846207919&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/04/16/846207919/ahmad-jamal-obituary?ft=nprml&f=846207919","nprRetrievedStory":"1","nprPubDate":"Sun, 16 Apr 2023 20:59:00 -0400","nprStoryDate":"Sun, 16 Apr 2023 19:54:55 -0400","nprLastModifiedDate":"Sun, 16 Apr 2023 20:59:07 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13927852/ahmad-jamal-measured-maestro-of-jazz-piano-dies-at-92","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most jazz performers, a song is part of a performance. For Ahmad Jamal, each song \u003cem>was\u003c/em> a performance. Over the course of a remarkable eight-decade career, Jamal, who passed away Sunday at the age of 92, created stellar recordings both as an ambitious youth and a sagely veteran. \u003c/p>\n\u003cp>Jamal’s death was confirmed by his daughter, Sumayah Jamal. He died Sunday afternoon in Ashley Falls, Mass., after a battle with prostate cancer.\u003c/p>\n\u003cp>Jamal’s influence and admirers spread far and wide in jazz. For instance, Miles Davis found enormous inspiration in his work: In his 1989 autobiography, \u003cem>Miles\u003c/em>, the legendary trumpeter said that Jamal “knocked me out with his concept of space, his lightness of touch, his understatement, and the way he phrases notes and chords and passages.” Miles went on to record Jamal’s “New Rhumba” on his classic 1957 recording \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925776","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>His contemporary admirers are just as fervent. Pianist Ethan Iverson, a founding member of the exceptionally popular trio The Bad Plus, said, “All of his pieces are theatrical and contained. In some ways the Bad Plus was an extension of his classic trio.”\u003c/p>\n\u003cp>Pianist Vijay Iyer was just as adamant. “His sense of time is that of a dancer, or a comedian. His left hand stays focused, and his right hand is always in motion, interacting with, leaning on, and shading the pulse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He bends any song to his will, always open to the moment and always pushing the boundaries, willing to override whatever old chestnut he’s playing in search of something profoundly alive.”\u003c/p>\n\u003cp>Jamal was born Frederick Russell Jones in Pittsburgh on July 2, 1930. When he was 3 years old, his uncle challenged him to duplicate what he was playing on the piano, and the youngster actually could. He began formal studies of the piano at the age of 7 and quickly took on an advanced curriculum. He told Eugene Holley Jr. of \u003cem>Wax Poetics\u003c/em> in a 2018 interview, “I studied Art Tatum, Bach, Beethoven, Count Basie, John Kirby, and Nat Cole. I was studying Liszt. I had to know European and American classical music. My mother was rich in spirit, and she led me to another rich person: my teacher, Mary Cardwell Dawson, who started the first African-American opera company in the country.”\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/ZmvwCTMO1Lg'\n title='//www.youtube.com/embed/ZmvwCTMO1Lg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jamal grew up in a Pittsburgh community that was rich in jazz history. His neighbors included the legendary pianists Earl Hines, Errol Garner and Mary Lou Williams. As a youth, Jamal delivered newspapers to the household of Billy Strayhorn. When Jamal began his professional career at the age of 14, Art Tatum, an early titan of the keyboard, proclaimed him “a coming great.” During a tour stop in Detroit, Jamal, who was born to Baptist parents, converted to Islam and changed his name. \u003c/p>\n\u003cp>His fluency in European classical music — Jamal disdained the term jazz, preferring American classical music as a descriptor for his work — was a highlight of his style. In a 2001 \u003cem>New York Times\u003c/em> article, Ben Waltzer, a pianist and curriculum director at the University of Chicago, noted, “when we listen to his music, fragments from Ravel’s ‘Bolero’ and Falla’s ‘Ritual Fire Dance’ mingle with the blues, standard songs, melodic catch-phrases from bebop, and the ‘Marseillaise.'”\u003c/p>\n\u003cp>This may not seem remarkable today, when most jazz musicians are conservatory-trained and well versed in art music, from Louis Armstrong to Iannis Xenakis and from Laurie Anderson to John Zorn. But Jamal was a youth when there were significant barriers to African Americans entering the academy. “In Pittsburgh, we didn’t separate the two schools,” he told Waltzer.\u003c/p>\n\u003cp>Jamal’s style went well beyond a diverse range of source material; he expanded the borders and depth of improvisation. “Jazz improvisation is generally understood as a narrative melodic line composed spontaneously in relation to a song’s harmonic structure,” wrote Waltzer. “Jamal broadened this concept by using recurring riffs, vamps and ostinatos — tropes of big-band jazz that were employed as background accompaniment for featured instrumentalists — not just to frame solos, as many musicians did, but as the stuff of improvisation itself.”\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/pMOVImLMq_A'\n title='//www.youtube.com/embed/pMOVImLMq_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the early and mid-’50s, Jamal led various trios and quartets, before settling into a trio setting with bassist Israel Crosby and drummer Vernel Fournier. In 1958, they released the landmark jazz recording, \u003cem>At The Pershing: But Not For Me\u003c/em>. It is one of the most popular and influential recordings in jazz history. It stayed on the \u003cem>Billboard\u003c/em> Top 200 album chart for an astounding 108 weeks. \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/WIW0bRcV6Ic'\n title='//www.youtube.com/embed/WIW0bRcV6Ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Iverson said of the title track, “The classic Jamal Trio with Crosby and Fournier is one of the greatest groups of all time. ‘But Not For Me’ is a perfect three minutes. Literally perfect. There’s nothing better.”\u003c/p>\n\u003cp>The trio’s version of “Poinciana” sparked the popularity of the recording, and it became a signature tune for Jamal. He told \u003cem>Wax Poetics\u003c/em>, “It was a combination of things: Israel Crosby’s lines, what I was playing, and Vernel—if you listen to his work on “Poinciana,” you’d think it was two drummers!”\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/Z0e2G32f3IU'\n title='//www.youtube.com/embed/Z0e2G32f3IU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jamal visited Africa in 1959. Upon his return to Chicago, he had a failed venture as a club owner, then took a hiatus from recording in the early ’60s. By the middle of the decade, he’d resumed recording and touring. His 1969 album, \u003cem>The Awakening\u003c/em>, was widely hailed for its rendering of jazz standards and originals. \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/zpwxyQh2ZdA'\n title='//www.youtube.com/embed/zpwxyQh2ZdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His music was found in the soundtracks of movies like \u003cem>M*A*S*H\u003c/em> and \u003cem>The Bridges of Madison County\u003c/em>. In a 1985 episode of NPR’s\u003cem> Piano Jazz\u003c/em>, Jamal told host and fellow piano legend Marian McPartland that his favorite recording was “the next one.” Then he allowed that the \u003cem>Pershing\u003c/em> “was close to perfection.” He also said that he continued to focus on ballads. “They are difficult to play,” he told her, “it takes years of living to read them properly.” In 1994, he was awarded a National Endowment for the Arts Jazz Master Fellowship.\u003c/p>\n\u003cp>He continued making stellar recordings into the past decade. His 2017 release, \u003cem>Marseille\u003c/em>, was noted in the NPR Music Jazz Critics Poll. \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/-j2YWdiaBa4'\n title='//www.youtube.com/embed/-j2YWdiaBa4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recording featured all of the hallmarks that made Jamal a great pianist and bandleader, and the drummer Herlin Riley, like Fournier, was from New Orleans. It prompted Iyer to note that Jamal’s lineage of New Orleanian drummers — Fournier, Idris Muhammad and Riley — suggests rhythm as a ritual or cultural cornerstone. \u003c/p>\n\u003cp>Jamal’s work continued to impress other pianists. In 2014 Matthew Shipp told NPR’s Karen Michel, “His imagination is so deep. One of the joys of listening to him is to see how his fertile imagination interacts with the material he does pick and recombines it into a musical entity that we’ve never heard. I mean, he is a musical architect of the highest order.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waltzer added, “innovation in jazz can be subtle. Rather than reaching outward to create an overtly revolutionary sound, Mr. Jamal explored the inner workings of the small ensemble to control, shape and dramatize his music.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ahmad+Jamal%2C+measured+maestro+of+the+jazz+piano%2C+dies+at+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927852/ahmad-jamal-measured-maestro-of-jazz-piano-dies-at-92","authors":["byline_arts_13927852"],"categories":["arts_1","arts_69","arts_1564"],"tags":["arts_1420"],"affiliates":["arts_10778"],"featImg":"arts_13927853","label":"arts_10778"},"arts_13923883":{"type":"posts","id":"arts_13923883","meta":{"index":"posts_1591205157","site":"arts","id":"13923883","score":null,"sort":[1674173489000]},"guestAuthors":[],"slug":"crosby-stills-nash-co-founder-david-crosby-has-died-at-81","title":"Crosby, Stills & Nash Co-Founder David Crosby Has Died at 81","publishDate":1674173489,"format":"standard","headTitle":"Crosby, Stills & Nash Co-Founder David Crosby Has Died at 81 | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.npr.org/artists/15396847/david-crosby\">David Crosby\u003c/a>, a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>, has died at 81. His publicist Michael Jensen confirmed the artist’s death to NPR; no cause of death was given.\u003c/p>\n\u003cp>Crosby had long dealt with serious health problems, including multiple heart attacks, diabetes and hepatitis C, for which he had a liver transplant in 1994. In spite of those challenges, the veteran musician enjoyed a creative hot streak in recent years. He added five solo albums to his catalog between 2014 and 2021, and toured frequently with two sets of collaborators, the Lighthouse Band (which featured \u003ca href=\"https://www.npr.org/artists/474878869/snarky-puppy\">Snarky Puppy\u003c/a> bandleader Michael League) and the Sky Trails Band, featuring his son, James Raymond, on keyboards.\u003c/p>\n\u003cp>Crosby’s focus on touring stretched all the way back to his early professional days, when he was a nomadic folk musician honing his performance skills on the road. In the late 1950s, Crosby started performing at coffeehouses in Santa Barbara, Calif., but soon began traveling around the U.S., popping up in southern Florida, Chicago and Boulder, Colo. Crosby also spent a formative period in Greenwich Village, where he teamed up to play at the then-new Bitter End with Chicago musician Terry Callier.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His long and successful solo career notwithstanding, Crosby thrived on collaboration — a trait he discovered as a young child, after being mesmerized by a symphony orchestra performance. “The idea of cooperative effort to make something bigger than any one person could ever do was stuck in my head,” he wrote in his 1988 autobiography, \u003cem>Long Time Gone\u003c/em>. “That’s why I love being a harmony singer, why I love being in a group.”\u003c/p>\n\u003cp>Crosby’s first big successes came as a founding member of expansive California country-folk troupe The Byrds. The group hit its commercial peak during his tenure, earning two No. 1 singles — covers of \u003ca href=\"https://www.npr.org/artists/15869924/pete-seeger\">Pete Seeger\u003c/a>’s “Turn! Turn! Turn!” and \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>’s ‘Mr. Tambourine Man’ — and reaching the Top 20 with the stormy classic “Eight Miles High.” Crosby co-wrote the latter, and penned several other memorable Byrds songs, including the lilting, jangly “Lady Friend.” He was instrumental in helping the group develop its harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk, and has taken credit for introducing bandmate \u003ca href=\"https://www.npr.org/artists/16269974/roger-mcguinn\">Roger McGuinn\u003c/a> to the music of \u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> and \u003ca href=\"https://www.npr.org/artists/17093771/ravi-shankar\">Ravi Shankar\u003c/a>.\u003c/p>\n\u003cp>In 1967, Crosby was fired from the Byrds over growing personality and creative conflicts (although he later returned to produce and perform on 1973’s \u003cem>Byrds\u003c/em>). At loose ends, he immersed himself in sailing, one of his childhood passions, buying a schooner for $25,000 with money borrowed from The Monkees’ Peter Tork. The boat would be a source of solace and inspiration for decades; he wrote songs including “Wooden Ships,” “The Lee Shore” and “Page 43” while on board.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-ZZYXlJ8-k0\u003c/p>\n\u003cp>Crosby was born on Aug. 14, 1941, and grew up in Southern California. His father was cinematographer Floyd Crosby, who won an Academy Award for his work on 1931’s \u003cem>Tabu: A Story of the South Seas\u003c/em>, as well as a Golden Globe for cinematography for 1952’s \u003cem>High Noon\u003c/em>. (Crosby himself influenced another notable corner of Hollywood: He often \u003ca href=\"https://twitter.com/thedavidcrosby/status/1018631062279221248\">said\u003c/a> that Dennis Hopper took inspiration from his look and attitude for 1969’s \u003cem>Easy Rider\u003c/em>.)\u003c/p>\n\u003cp>As a kid, Crosby fell hard for \u003ca href=\"https://www.npr.org/artists/15181907/the-everly-brothers\">The Everly Brothers\u003c/a>, the genesis of his lifelong fascination with close harmony, further cemented by his family’s regular sing-along sessions. His older brother, Ethan, introduced him to jazz, a genre he would touch on throughout his career, including with his late ‘90s/early ‘00s band CPR and on a ruminative 2017 solo album, \u003cem>Sky Trails.\u003c/em>\u003c/p>\n\u003cp>Crosby’s formative influences became more prominent in his partnership with \u003ca href=\"https://www.npr.org/artists/15399328/stephen-stills\">Stephen Stills\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15412309/graham-nash\">Graham Nash\u003c/a>, with whom he explored novel ways of expressing harmony. In \u003cem>Long Time Gone\u003c/em>, Crosby deconstructs the group’s unique vocal approach with typical concision, noting the group sang “nonparallel stuff” influenced by classical music, late ‘50s and early ‘60s jazz and the Everlys. “I did some of my very best work being subtle, moving the middle part around in internal shifts that kept it happening,” he wrote.\u003c/p>\n\u003cp>Crosby’s ocean-clear tenor meshed seamlessly with the voices of Stills and Nash in hushed and haunting ways, particularly on his own “Guinnevere.” His songwriting contributions pushed the band in new directions — in particular, the rhythmic cadences of “Déjà Vu” and the loose arrangements and boho instrumental tone of “Wooden Ships.”\u003c/p>\n\u003cp>As a trio, Crosby, Stills and Nash was both commercially and critically adored. Its self-titled 1969 debut led to an performance at Woodstock and Grammy for best new artist, while 1970’s \u003cem>Déjà Vu \u003c/em>— by which point Neil Young had joined, adding another letter to the band’s name — touched on both the comforts of tradition and the seismic generational shifts that were underway. Months after \u003cem>Déjà Vu\u003c/em>‘s release, CSNY would become a leading voice of the nation’s anti-war movement, recording the Young-penned “Ohio” in response to the May 1970 shooting of four students at Kent State University. His 1971 solo album, \u003cem>If I Could Only Remember My Name\u003c/em>, a sprawling psych-folk touchstone offering studio intricacy and experimental gambits, further illuminated his off-the-beaten-path outlook.\u003c/p>\n\u003cfigure id=\"attachment_13923886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg\" alt=\"a four-piece band of white men with long hair record music in a studio in the 1970s\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Crosby, Stills, Nash & Young recording in 1970. \u003ccite>(RB/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Crosby — who was inducted into the Rock & Roll Hall of Fame twice, as a member of the Byrds and CSN — continued performing with various collaborators, with Graham Nash serving as his steadiest foil well into the mid-2010s. Ever opinionated and brutally honest, he was an open book about his personal flaws and failings, as well as how he felt about his peers. This no-nonsense personality made him both endearing and prickly, especially as a bandmate — CSNY’s internal conflicts and disagreements were legendary.\u003c/p>\n\u003cp>But also, much later and perhaps surprisingly, it made him a natural for the concise and quippy nature of Twitter. Crosby shared wide-ranging thoughts about politics and music on the site, and answered fan questions, both about his own career (he told one fan he “was not the right guy for the job” to when asked whether it was true that he was supposed to have worked on Leonard Cohen’s second album) and about those in his orbit (“Was Jerry Garcia a tenor?”\u003ca href=\"https://twitter.com/thedavidcrosby/status/961950937051877376\"> Answer\u003c/a>: “Tenor/baritone.”). Such lovable terseness even landed him \u003ca href=\"https://www.rollingstone.com/t/ask-croz/\">an advice column\u003c/a> in \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>Crosby’s career was marked by countless reinventions and second chances. Years of well-documented substance abuse led to tumultuous relationships in and out of music, multiple arrests and even a nine-month stint in a Texas prison in the ‘80s. Remarkably, his voice remained strong and unweathered, a fact Crosby himself found inexplicable, as he explained to Cameron Crowe in the 2019 documentary \u003cem>David Crosby: Remember My Name\u003c/em>. Yet the film also reflected plenty of humility, portraying a musician facing his mortality by trying not to dwell on the past.\u003c/p>\n\u003cp>“I’ve hurt a lot of people,” \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/18/remember-my-name-david-crosby\">Crosby told \u003cem>Here & Now\u003c/em>\u003c/a>, the midday news show from NPR and WBUR, in 2019. “I’ve helped a lot more. I just have to be able to look at it and understand it and learn from it. I’m not beating myself up about any of it. Truthfully, I’m actually pretty happy with the guy I am now. I’m trying real hard to be a decent human being. And I like it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crosby%2C+Stills+%26+Nash+co-founder+David+Crosby+has+died+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Crosby was a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream.","status":"publish","parent":0,"modified":1705005960,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1380},"headData":{"title":"Crosby, Stills & Nash Co-Founder David Crosby Has Died at 81 | KQED","description":"Crosby was a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Ebet Roberts","nprByline":"Annie Zaleski","nprImageAgency":"Redferns","nprStoryId":"750902962","nprApiLink":"http://api.npr.org/query?id=750902962&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/01/19/750902962/david-crosby-obituary?ft=nprml&f=750902962","nprRetrievedStory":"1","nprPubDate":"Thu, 19 Jan 2023 19:01:00 -0500","nprStoryDate":"Thu, 19 Jan 2023 18:51:16 -0500","nprLastModifiedDate":"Thu, 19 Jan 2023 19:01:45 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13923883/crosby-stills-nash-co-founder-david-crosby-has-died-at-81","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15396847/david-crosby\">David Crosby\u003c/a>, a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>, has died at 81. His publicist Michael Jensen confirmed the artist’s death to NPR; no cause of death was given.\u003c/p>\n\u003cp>Crosby had long dealt with serious health problems, including multiple heart attacks, diabetes and hepatitis C, for which he had a liver transplant in 1994. In spite of those challenges, the veteran musician enjoyed a creative hot streak in recent years. He added five solo albums to his catalog between 2014 and 2021, and toured frequently with two sets of collaborators, the Lighthouse Band (which featured \u003ca href=\"https://www.npr.org/artists/474878869/snarky-puppy\">Snarky Puppy\u003c/a> bandleader Michael League) and the Sky Trails Band, featuring his son, James Raymond, on keyboards.\u003c/p>\n\u003cp>Crosby’s focus on touring stretched all the way back to his early professional days, when he was a nomadic folk musician honing his performance skills on the road. In the late 1950s, Crosby started performing at coffeehouses in Santa Barbara, Calif., but soon began traveling around the U.S., popping up in southern Florida, Chicago and Boulder, Colo. Crosby also spent a formative period in Greenwich Village, where he teamed up to play at the then-new Bitter End with Chicago musician Terry Callier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His long and successful solo career notwithstanding, Crosby thrived on collaboration — a trait he discovered as a young child, after being mesmerized by a symphony orchestra performance. “The idea of cooperative effort to make something bigger than any one person could ever do was stuck in my head,” he wrote in his 1988 autobiography, \u003cem>Long Time Gone\u003c/em>. “That’s why I love being a harmony singer, why I love being in a group.”\u003c/p>\n\u003cp>Crosby’s first big successes came as a founding member of expansive California country-folk troupe The Byrds. The group hit its commercial peak during his tenure, earning two No. 1 singles — covers of \u003ca href=\"https://www.npr.org/artists/15869924/pete-seeger\">Pete Seeger\u003c/a>’s “Turn! Turn! Turn!” and \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>’s ‘Mr. Tambourine Man’ — and reaching the Top 20 with the stormy classic “Eight Miles High.” Crosby co-wrote the latter, and penned several other memorable Byrds songs, including the lilting, jangly “Lady Friend.” He was instrumental in helping the group develop its harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk, and has taken credit for introducing bandmate \u003ca href=\"https://www.npr.org/artists/16269974/roger-mcguinn\">Roger McGuinn\u003c/a> to the music of \u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> and \u003ca href=\"https://www.npr.org/artists/17093771/ravi-shankar\">Ravi Shankar\u003c/a>.\u003c/p>\n\u003cp>In 1967, Crosby was fired from the Byrds over growing personality and creative conflicts (although he later returned to produce and perform on 1973’s \u003cem>Byrds\u003c/em>). At loose ends, he immersed himself in sailing, one of his childhood passions, buying a schooner for $25,000 with money borrowed from The Monkees’ Peter Tork. The boat would be a source of solace and inspiration for decades; he wrote songs including “Wooden Ships,” “The Lee Shore” and “Page 43” while on board.\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/-ZZYXlJ8-k0'\n title='//www.youtube.com/embed/-ZZYXlJ8-k0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Crosby was born on Aug. 14, 1941, and grew up in Southern California. His father was cinematographer Floyd Crosby, who won an Academy Award for his work on 1931’s \u003cem>Tabu: A Story of the South Seas\u003c/em>, as well as a Golden Globe for cinematography for 1952’s \u003cem>High Noon\u003c/em>. (Crosby himself influenced another notable corner of Hollywood: He often \u003ca href=\"https://twitter.com/thedavidcrosby/status/1018631062279221248\">said\u003c/a> that Dennis Hopper took inspiration from his look and attitude for 1969’s \u003cem>Easy Rider\u003c/em>.)\u003c/p>\n\u003cp>As a kid, Crosby fell hard for \u003ca href=\"https://www.npr.org/artists/15181907/the-everly-brothers\">The Everly Brothers\u003c/a>, the genesis of his lifelong fascination with close harmony, further cemented by his family’s regular sing-along sessions. His older brother, Ethan, introduced him to jazz, a genre he would touch on throughout his career, including with his late ‘90s/early ‘00s band CPR and on a ruminative 2017 solo album, \u003cem>Sky Trails.\u003c/em>\u003c/p>\n\u003cp>Crosby’s formative influences became more prominent in his partnership with \u003ca href=\"https://www.npr.org/artists/15399328/stephen-stills\">Stephen Stills\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15412309/graham-nash\">Graham Nash\u003c/a>, with whom he explored novel ways of expressing harmony. In \u003cem>Long Time Gone\u003c/em>, Crosby deconstructs the group’s unique vocal approach with typical concision, noting the group sang “nonparallel stuff” influenced by classical music, late ‘50s and early ‘60s jazz and the Everlys. “I did some of my very best work being subtle, moving the middle part around in internal shifts that kept it happening,” he wrote.\u003c/p>\n\u003cp>Crosby’s ocean-clear tenor meshed seamlessly with the voices of Stills and Nash in hushed and haunting ways, particularly on his own “Guinnevere.” His songwriting contributions pushed the band in new directions — in particular, the rhythmic cadences of “Déjà Vu” and the loose arrangements and boho instrumental tone of “Wooden Ships.”\u003c/p>\n\u003cp>As a trio, Crosby, Stills and Nash was both commercially and critically adored. Its self-titled 1969 debut led to an performance at Woodstock and Grammy for best new artist, while 1970’s \u003cem>Déjà Vu \u003c/em>— by which point Neil Young had joined, adding another letter to the band’s name — touched on both the comforts of tradition and the seismic generational shifts that were underway. Months after \u003cem>Déjà Vu\u003c/em>‘s release, CSNY would become a leading voice of the nation’s anti-war movement, recording the Young-penned “Ohio” in response to the May 1970 shooting of four students at Kent State University. His 1971 solo album, \u003cem>If I Could Only Remember My Name\u003c/em>, a sprawling psych-folk touchstone offering studio intricacy and experimental gambits, further illuminated his off-the-beaten-path outlook.\u003c/p>\n\u003cfigure id=\"attachment_13923886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg\" alt=\"a four-piece band of white men with long hair record music in a studio in the 1970s\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Crosby, Stills, Nash & Young recording in 1970. \u003ccite>(RB/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Crosby — who was inducted into the Rock & Roll Hall of Fame twice, as a member of the Byrds and CSN — continued performing with various collaborators, with Graham Nash serving as his steadiest foil well into the mid-2010s. Ever opinionated and brutally honest, he was an open book about his personal flaws and failings, as well as how he felt about his peers. This no-nonsense personality made him both endearing and prickly, especially as a bandmate — CSNY’s internal conflicts and disagreements were legendary.\u003c/p>\n\u003cp>But also, much later and perhaps surprisingly, it made him a natural for the concise and quippy nature of Twitter. Crosby shared wide-ranging thoughts about politics and music on the site, and answered fan questions, both about his own career (he told one fan he “was not the right guy for the job” to when asked whether it was true that he was supposed to have worked on Leonard Cohen’s second album) and about those in his orbit (“Was Jerry Garcia a tenor?”\u003ca href=\"https://twitter.com/thedavidcrosby/status/961950937051877376\"> Answer\u003c/a>: “Tenor/baritone.”). Such lovable terseness even landed him \u003ca href=\"https://www.rollingstone.com/t/ask-croz/\">an advice column\u003c/a> in \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>Crosby’s career was marked by countless reinventions and second chances. Years of well-documented substance abuse led to tumultuous relationships in and out of music, multiple arrests and even a nine-month stint in a Texas prison in the ‘80s. Remarkably, his voice remained strong and unweathered, a fact Crosby himself found inexplicable, as he explained to Cameron Crowe in the 2019 documentary \u003cem>David Crosby: Remember My Name\u003c/em>. Yet the film also reflected plenty of humility, portraying a musician facing his mortality by trying not to dwell on the past.\u003c/p>\n\u003cp>“I’ve hurt a lot of people,” \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/18/remember-my-name-david-crosby\">Crosby told \u003cem>Here & Now\u003c/em>\u003c/a>, the midday news show from NPR and WBUR, in 2019. “I’ve helped a lot more. I just have to be able to look at it and understand it and learn from it. I’m not beating myself up about any of it. Truthfully, I’m actually pretty happy with the guy I am now. I’m trying real hard to be a decent human being. And I like it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crosby%2C+Stills+%26+Nash+co-founder+David+Crosby+has+died+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923883/crosby-stills-nash-co-founder-david-crosby-has-died-at-81","authors":["byline_arts_13923883"],"categories":["arts_1","arts_835","arts_69","arts_1564"],"tags":["arts_8530","arts_1091","arts_905"],"affiliates":["arts_10778"],"featImg":"arts_13923885","label":"arts_10778"},"arts_13922842":{"type":"posts","id":"arts_13922842","meta":{"index":"posts_1591205157","site":"arts","id":"13922842","score":null,"sort":[1671475881000]},"guestAuthors":[],"slug":"angelo-badalamenti-remembrance","title":"The Fantasia of Angelo Badalamenti, Veil-Piercing Composer","publishDate":1671475881,"format":"standard","headTitle":"The Fantasia of Angelo Badalamenti, Veil-Piercing Composer | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>A girl walks into a diner and goes straight for the jukebox, and \u003ca href=\"https://www.youtube.com/watch?v=DF43b38k0Mw\">the song\u003c/a> she puts on is a strange one: a wordless, off-centered jazz number that slinks around, snapping its fingers and occasionally erupting in fits of woodwind and brass. “God, I love this music,” the girl sighs. “Isn’t it too dreamy?” In the middle of the restaurant she begins to sway — eyes closed, head back, arms out like airplane wings, lost in a mesmerizing and vaguely concerning trance. At other times the girl’s air of mystery is cannily performed; here it is plain to all witnesses that the song has taken her somewhere else. At this moment, in \u003ca href=\"https://www.youtube.com/watch?v=Kr7gBYgk_7c\">this scene\u003c/a>, I and presumably millions of others fell obsessively in love with the television series \u003cem>Twin Peaks\u003c/em> and, without then knowing, the music of Angelo Badalamenti, the conductor and composer who \u003ca href=\"https://www.npr.org/2022/12/14/1142894262/twin-peaks-composer-angelo-badalamenti-died-sunday-at-age-85\">died last week at 85\u003c/a> and whose partnership with David Lynch was intrinsic to the director’s famous sensibility — the terror, the absurdity, the wild pain and sublime beauty and distinctly American ambient psychosis, the sincerity beneath it all. That part of the scene was unrehearsed, a pure reaction to the sounds; Lynch had given no warning to the actress, Sherilynn Fenn, that she’d be dancing to “this really cool, sexy, jazzy thing that Angelo and I just wrote!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DF43b38k0Mw\u003c/p>\n\u003cp>Seeing Badalamenti’s name flicker elegantly across a Lynch film’s opening credits — over \u003ca href=\"https://www.youtube.com/watch?v=ZXfYNMwTe68\">blue velvet curtains\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rr5ZWwKEE9o\">billowing flames\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=FTUxRX6cwDk\">headlights on a two-lane highway\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=PrltOLHkzs0\">the glow of television static\u003c/a> — you might envision a stately Italian maestro with an impressive scarf collection and discerning taste for espresso, not unlike the bit part he \u003ca href=\"https://www.youtube.com/watch?v=aVI-Jew-iHo\">played hysterically\u003c/a> in \u003cem>Mulholland Drive\u003c/em>. In fact he was a cheerful, paunchy fellow for whom inspiration sometimes struck during a round of golf at the North Jersey Country Club, a Brooklyn-born son of a fishmonger who initially needed a translator for Lynch’s gee-whiz lingo. (“This is peachy keen!” Lynch yelped upon hearing Badalamenti’s demo work with actress Isabella Rossellini for her haunted rendition of \u003cem>Blue Velvet\u003c/em>‘s namesake song, the filmmaker and composer’s first encounter. “You know, I’m from Bensonhurst — we don’t use those words,” Badalamenti laughed \u003ca href=\"https://www.rollingstone.com/music/music-news/dream-team-the-semi-mysterious-story-behind-the-music-of-twin-peaks-78506/\">decades later\u003c/a>.) As a child, Sunday nights meant gathering around the Victrola as his grandfather worked himself to tears narrating the storylines of Italian operas, early evidence of music’s capacity to make someone weep. Angelo spent his teenage summers accompanying Catskills resort singers on piano, earned a bachelor’s degree in French horn from the Manhattan School of Music and taught music to junior high students in Brooklyn; meanwhile he wrote jingles and torch songs under the pen name Andy Badale. (Two of them, \u003ca href=\"https://songwhip.com/nina-simone/iholdnogrudge\">“I Hold No Grudge”\u003c/a> and “\u003ca href=\"https://songwhip.com/nina-simone/he-aint-comin-home-no-more\">He Ain’t Comin’ Home No More\u003c/a>,” appear on Nina Simone’s 1967 album \u003cem>High Priestess of Soul\u003c/em>.) Badalamenti had scored a few films before stepping onto \u003cem>Blue Velvet\u003c/em>‘s set, but his soundtrack for the 1986 classic marked his big break and the start of a 30-plus-year mind-meld with one of America’s great auteurs.\u003c/p>\n\u003cp>There’s a serendipity to so many of Badalamenti’s arrangements for Lynch, which serve as our emotional compass for navigating the director’s uncanny worlds. So impressed was Lynch with Badalamenti’s vocal coaching he invited the musician to collaborate on an original theme for \u003cem>Blue Velvet\u003c/em>, offering no more guidance than this: “Make it like the wind, Angelo. It should be a song that floats on the sea of time.” (With them, it was always this way; sometimes Lynch would instruct his friend, “I’m gonna need some music that’s gonna tear the hearts out of people!” and at other times, a shared glance over coffee and turkey sandwiches was all it took.) Badalamenti sat down at the keyboard and out came “\u003ca href=\"https://www.youtube.com/watch?v=TMDvOhmLmg4\">Mysteries of Love\u003c/a>,” a liturgical-sounding synth arrangement I like to think of as the composer’s “blinding light of love” mode, to borrow a line from the film — startlingly hopeful music for piercing through the darkness. For its vocals he recruited a chorus girl he’d met off-Broadway by the name of Julee Cruise, whose belting musical theater voice he coaxed to sound like an angel who’d awoken on earth on the back of a stranger’s motorcycle. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ry5vs331sMY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That full-immersion feeling of Lynch’s work is in part because its characters are witness to the same otherworldly Badalamenti music we are, in any number of moody dives: the \u003ca href=\"https://www.youtube.com/watch?v=6wCfI2Czhjc\">ghostly “banda”\u003c/a> of \u003cem>Mulholland Drive\u003c/em>‘s Silencio, \u003cem>Lost Highway\u003c/em>‘s \u003ca href=\"https://www.youtube.com/watch?v=PyZlYj8jpt8\">sax freak-out\u003c/a> at Club Luna or jazz legend Jimmy Scott’s breathtaking performance of “\u003ca href=\"https://www.youtube.com/watch?v=2vOg0HyJpvI\">Sycamore Trees\u003c/a>,” live from the strobe-lit Black Lodge. (Lately I’ve been returning to “\u003ca href=\"https://www.youtube.com/watch?v=zUMR3cR1qSY\">A Real Indication\u003c/a>,” where Badalamenti raps so weirdly it made Lynch laugh until he got a hernia — a rare moment of levity in the brutal \u003cem>Fire Walk With Me\u003c/em>.) But there’s nothing quite like Julee Cruise onstage at \u003cem>Twin Peaks\u003c/em>‘ Roadhouse, bringing a room of bikers, loggers and rockabilly teens to hysterical tears with her rendition of \u003ca href=\"https://www.youtube.com/watch?v=s-VRRVLGPC4\">“The World Spins”\u003c/a> while awful things happen outside. The song first appeared on Cruise’s 1989 debut \u003cem>Floating into the Night\u003c/em>, a Badalamenti-produced collection of heavenly dream pop. A year later another instrumental from that album would become the most gorgeous \u003ca href=\"https://www.youtube.com/watch?v=Z30zg9a5M5k\">theme song\u003c/a> in television history, the opening notes of which function like that sycamore-shrouded portal to \u003cem>Twin Peak\u003c/em>‘s stylish underworld.\u003c/p>\n\u003cfigure id=\"attachment_13922852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/twinpeaks.jpg\" alt=\"\" width=\"600\" height=\"782\" class=\"size-full wp-image-13922852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-768x1000.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Badalamenti, bottom right, with the cast of Twin Peaks in a photo taken July 7, 1990. \u003ccite>(ABC Photo Archives/Disney General Entertainment Content via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The day after Badalamenti’s death, my Twitter timeline was mercifully bombarded with a \u003ca href=\"https://www.youtube.com/watch?v=e-eqgr_gn4k\">video\u003c/a> of the composer from 2018, the most moving account of creative collaboration I have ever seen. The 81-year old sits at the aged Fender Rhodes, where he composed all \u003cem>Twin Peaks\u003c/em>‘ major themes, pointing happily to the spot where Lynch would sit beside him and dictate the images in his mind (before a single scene of \u003cem>Twin Peaks\u003c/em> had been shot). “And David would say, ‘Okay, Angelo, we’re in a dark woods now, and there’s a soft wind blowing through some sycamore trees, and there’s a moon out, and there’s some animal sounds in the background, and you can hear the hoot of an owl…’ And I started playing…” Badalamenti plays the minor introductory chords of “Laura Palmer’s Theme,” in whose spare elements the essence of \u003cem>Twin Peaks\u003c/em> is contained — the persistence of love in the face of supernatural tragedy. “Then he would say, ‘Okay, Angelo, now we gotta make a change, because from behind the tree in the back of the woods, there’s this very lonely girl, her name is Laura Palmer…” In his Brooklyn accent it comes out “Laura Palma,” and as he changes keys and builds to a crescendo, he shuts his eyes and goes on in Lynch’s voice: “‘Oh, that’s it! Angelo, oh, that’s tearin’ my heart out! Now she’s starting to leave, so fall down — keep falling — go back into the dark woods. That’s it. Keep going.’ ” He releases the song’s final chord and opens his eyes, and they shine with love and pride. “David got up, he gave me a big hug, and he said, ‘Angelo, that’s \u003cem>Twin Peaks\u003c/em>.’ ” That’s the way Lynch and Badalamenti worked: a mystic connection through pure instinct and feeling, building off one another until they’d summoned a universe. \u003c/p>\n\u003cfigure id=\"attachment_13922845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a.jpg 1958w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the pilot episode of Twin Peaks, featuring Michael Ontkean as Sheriff Harry S. Truman (left) and Kyle MacLachlan as Special Agent Dale Cooper. \u003ccite>(Peaks'. (Photo by CBS Photo Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tuning into \u003ca href=\"https://www.npr.org/2017/07/19/538091293/twin-peaks-the-return\">the return of Twin Peaks\u003c/a> twenty-five years after the original cliffhanger, I remember it feeling \u003cem>wrong\u003c/em>: Why were we in a cold New York City warehouse? Who were these horrible doppelgängers? Where were the rustic wood interiors? What happened to the world I loved? Of course we’re meant to think this — it’s a deliberate play against our nostalgia — and it isn’t until the new season’s fourth hour that the slow chords of “Laura Palmer’s Theme” crescendo into the background, instantly triggering twenty-five years of memories. In the moment, it felt like home, and today it seems like a miracle, the chance to let Badalamenti tear our hearts out one last time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+fantasia+of+Angelo+Badalamenti%2C+veil-piercing+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Badalamenti's music, soft and bizarre and surging, was an emotional compass for the uncanny creations of director David Lynch.","status":"publish","parent":0,"modified":1705006044,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":1580},"headData":{"title":"The Fantasia of Angelo Badalamenti, Veil-Piercing Composer | KQED","description":"Badalamenti's music, soft and bizarre and surging, was an emotional compass for the uncanny creations of director David Lynch.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"the-fantasia-of-angelo-badalamenti-veil-piercing-composer","nprImageCredit":"ABC Photo Archives","nprByline":"Meaghan Garvey","nprImageAgency":"Disney General Entertainment Content via Getty Images","nprStoryId":"1144137378","nprApiLink":"http://api.npr.org/query?id=1144137378&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/12/19/1144137378/the-fantasia-of-angelo-badalamenti-veil-piercing-composer?ft=nprml&f=1144137378","nprRetrievedStory":"1","nprPubDate":"Mon, 19 Dec 2022 13:00:00 -0500","nprStoryDate":"Mon, 19 Dec 2022 12:46:34 -0500","nprLastModifiedDate":"Mon, 19 Dec 2022 13:00:37 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13922842/angelo-badalamenti-remembrance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A girl walks into a diner and goes straight for the jukebox, and \u003ca href=\"https://www.youtube.com/watch?v=DF43b38k0Mw\">the song\u003c/a> she puts on is a strange one: a wordless, off-centered jazz number that slinks around, snapping its fingers and occasionally erupting in fits of woodwind and brass. “God, I love this music,” the girl sighs. “Isn’t it too dreamy?” In the middle of the restaurant she begins to sway — eyes closed, head back, arms out like airplane wings, lost in a mesmerizing and vaguely concerning trance. At other times the girl’s air of mystery is cannily performed; here it is plain to all witnesses that the song has taken her somewhere else. At this moment, in \u003ca href=\"https://www.youtube.com/watch?v=Kr7gBYgk_7c\">this scene\u003c/a>, I and presumably millions of others fell obsessively in love with the television series \u003cem>Twin Peaks\u003c/em> and, without then knowing, the music of Angelo Badalamenti, the conductor and composer who \u003ca href=\"https://www.npr.org/2022/12/14/1142894262/twin-peaks-composer-angelo-badalamenti-died-sunday-at-age-85\">died last week at 85\u003c/a> and whose partnership with David Lynch was intrinsic to the director’s famous sensibility — the terror, the absurdity, the wild pain and sublime beauty and distinctly American ambient psychosis, the sincerity beneath it all. That part of the scene was unrehearsed, a pure reaction to the sounds; Lynch had given no warning to the actress, Sherilynn Fenn, that she’d be dancing to “this really cool, sexy, jazzy thing that Angelo and I just wrote!”\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/DF43b38k0Mw'\n title='//www.youtube.com/embed/DF43b38k0Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Seeing Badalamenti’s name flicker elegantly across a Lynch film’s opening credits — over \u003ca href=\"https://www.youtube.com/watch?v=ZXfYNMwTe68\">blue velvet curtains\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=rr5ZWwKEE9o\">billowing flames\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=FTUxRX6cwDk\">headlights on a two-lane highway\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=PrltOLHkzs0\">the glow of television static\u003c/a> — you might envision a stately Italian maestro with an impressive scarf collection and discerning taste for espresso, not unlike the bit part he \u003ca href=\"https://www.youtube.com/watch?v=aVI-Jew-iHo\">played hysterically\u003c/a> in \u003cem>Mulholland Drive\u003c/em>. In fact he was a cheerful, paunchy fellow for whom inspiration sometimes struck during a round of golf at the North Jersey Country Club, a Brooklyn-born son of a fishmonger who initially needed a translator for Lynch’s gee-whiz lingo. (“This is peachy keen!” Lynch yelped upon hearing Badalamenti’s demo work with actress Isabella Rossellini for her haunted rendition of \u003cem>Blue Velvet\u003c/em>‘s namesake song, the filmmaker and composer’s first encounter. “You know, I’m from Bensonhurst — we don’t use those words,” Badalamenti laughed \u003ca href=\"https://www.rollingstone.com/music/music-news/dream-team-the-semi-mysterious-story-behind-the-music-of-twin-peaks-78506/\">decades later\u003c/a>.) As a child, Sunday nights meant gathering around the Victrola as his grandfather worked himself to tears narrating the storylines of Italian operas, early evidence of music’s capacity to make someone weep. Angelo spent his teenage summers accompanying Catskills resort singers on piano, earned a bachelor’s degree in French horn from the Manhattan School of Music and taught music to junior high students in Brooklyn; meanwhile he wrote jingles and torch songs under the pen name Andy Badale. (Two of them, \u003ca href=\"https://songwhip.com/nina-simone/iholdnogrudge\">“I Hold No Grudge”\u003c/a> and “\u003ca href=\"https://songwhip.com/nina-simone/he-aint-comin-home-no-more\">He Ain’t Comin’ Home No More\u003c/a>,” appear on Nina Simone’s 1967 album \u003cem>High Priestess of Soul\u003c/em>.) Badalamenti had scored a few films before stepping onto \u003cem>Blue Velvet\u003c/em>‘s set, but his soundtrack for the 1986 classic marked his big break and the start of a 30-plus-year mind-meld with one of America’s great auteurs.\u003c/p>\n\u003cp>There’s a serendipity to so many of Badalamenti’s arrangements for Lynch, which serve as our emotional compass for navigating the director’s uncanny worlds. So impressed was Lynch with Badalamenti’s vocal coaching he invited the musician to collaborate on an original theme for \u003cem>Blue Velvet\u003c/em>, offering no more guidance than this: “Make it like the wind, Angelo. It should be a song that floats on the sea of time.” (With them, it was always this way; sometimes Lynch would instruct his friend, “I’m gonna need some music that’s gonna tear the hearts out of people!” and at other times, a shared glance over coffee and turkey sandwiches was all it took.) Badalamenti sat down at the keyboard and out came “\u003ca href=\"https://www.youtube.com/watch?v=TMDvOhmLmg4\">Mysteries of Love\u003c/a>,” a liturgical-sounding synth arrangement I like to think of as the composer’s “blinding light of love” mode, to borrow a line from the film — startlingly hopeful music for piercing through the darkness. For its vocals he recruited a chorus girl he’d met off-Broadway by the name of Julee Cruise, whose belting musical theater voice he coaxed to sound like an angel who’d awoken on earth on the back of a stranger’s motorcycle. \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/ry5vs331sMY'\n title='//www.youtube.com/embed/ry5vs331sMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That full-immersion feeling of Lynch’s work is in part because its characters are witness to the same otherworldly Badalamenti music we are, in any number of moody dives: the \u003ca href=\"https://www.youtube.com/watch?v=6wCfI2Czhjc\">ghostly “banda”\u003c/a> of \u003cem>Mulholland Drive\u003c/em>‘s Silencio, \u003cem>Lost Highway\u003c/em>‘s \u003ca href=\"https://www.youtube.com/watch?v=PyZlYj8jpt8\">sax freak-out\u003c/a> at Club Luna or jazz legend Jimmy Scott’s breathtaking performance of “\u003ca href=\"https://www.youtube.com/watch?v=2vOg0HyJpvI\">Sycamore Trees\u003c/a>,” live from the strobe-lit Black Lodge. (Lately I’ve been returning to “\u003ca href=\"https://www.youtube.com/watch?v=zUMR3cR1qSY\">A Real Indication\u003c/a>,” where Badalamenti raps so weirdly it made Lynch laugh until he got a hernia — a rare moment of levity in the brutal \u003cem>Fire Walk With Me\u003c/em>.) But there’s nothing quite like Julee Cruise onstage at \u003cem>Twin Peaks\u003c/em>‘ Roadhouse, bringing a room of bikers, loggers and rockabilly teens to hysterical tears with her rendition of \u003ca href=\"https://www.youtube.com/watch?v=s-VRRVLGPC4\">“The World Spins”\u003c/a> while awful things happen outside. The song first appeared on Cruise’s 1989 debut \u003cem>Floating into the Night\u003c/em>, a Badalamenti-produced collection of heavenly dream pop. A year later another instrumental from that album would become the most gorgeous \u003ca href=\"https://www.youtube.com/watch?v=Z30zg9a5M5k\">theme song\u003c/a> in television history, the opening notes of which function like that sycamore-shrouded portal to \u003cem>Twin Peak\u003c/em>‘s stylish underworld.\u003c/p>\n\u003cfigure id=\"attachment_13922852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/twinpeaks.jpg\" alt=\"\" width=\"600\" height=\"782\" class=\"size-full wp-image-13922852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/twinpeaks-768x1000.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Badalamenti, bottom right, with the cast of Twin Peaks in a photo taken July 7, 1990. \u003ccite>(ABC Photo Archives/Disney General Entertainment Content via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The day after Badalamenti’s death, my Twitter timeline was mercifully bombarded with a \u003ca href=\"https://www.youtube.com/watch?v=e-eqgr_gn4k\">video\u003c/a> of the composer from 2018, the most moving account of creative collaboration I have ever seen. The 81-year old sits at the aged Fender Rhodes, where he composed all \u003cem>Twin Peaks\u003c/em>‘ major themes, pointing happily to the spot where Lynch would sit beside him and dictate the images in his mind (before a single scene of \u003cem>Twin Peaks\u003c/em> had been shot). “And David would say, ‘Okay, Angelo, we’re in a dark woods now, and there’s a soft wind blowing through some sycamore trees, and there’s a moon out, and there’s some animal sounds in the background, and you can hear the hoot of an owl…’ And I started playing…” Badalamenti plays the minor introductory chords of “Laura Palmer’s Theme,” in whose spare elements the essence of \u003cem>Twin Peaks\u003c/em> is contained — the persistence of love in the face of supernatural tragedy. “Then he would say, ‘Okay, Angelo, now we gotta make a change, because from behind the tree in the back of the woods, there’s this very lonely girl, her name is Laura Palmer…” In his Brooklyn accent it comes out “Laura Palma,” and as he changes keys and builds to a crescendo, he shuts his eyes and goes on in Lynch’s voice: “‘Oh, that’s it! Angelo, oh, that’s tearin’ my heart out! Now she’s starting to leave, so fall down — keep falling — go back into the dark woods. That’s it. Keep going.’ ” He releases the song’s final chord and opens his eyes, and they shine with love and pride. “David got up, he gave me a big hug, and he said, ‘Angelo, that’s \u003cem>Twin Peaks\u003c/em>.’ ” That’s the way Lynch and Badalamenti worked: a mystic connection through pure instinct and feeling, building off one another until they’d summoned a universe. \u003c/p>\n\u003cfigure id=\"attachment_13922845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/gettyimages-85129552_wide-f5631190d5d36cfda4aa7aebc4176b113de8435a.jpg 1958w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the pilot episode of Twin Peaks, featuring Michael Ontkean as Sheriff Harry S. Truman (left) and Kyle MacLachlan as Special Agent Dale Cooper. \u003ccite>(Peaks'. (Photo by CBS Photo Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tuning into \u003ca href=\"https://www.npr.org/2017/07/19/538091293/twin-peaks-the-return\">the return of Twin Peaks\u003c/a> twenty-five years after the original cliffhanger, I remember it feeling \u003cem>wrong\u003c/em>: Why were we in a cold New York City warehouse? Who were these horrible doppelgängers? Where were the rustic wood interiors? What happened to the world I loved? Of course we’re meant to think this — it’s a deliberate play against our nostalgia — and it isn’t until the new season’s fourth hour that the slow chords of “Laura Palmer’s Theme” crescendo into the background, instantly triggering twenty-five years of memories. In the moment, it felt like home, and today it seems like a miracle, the chance to let Badalamenti tear our hearts out one last time. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+fantasia+of+Angelo+Badalamenti%2C+veil-piercing+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922842/angelo-badalamenti-remembrance","authors":["byline_arts_13922842"],"categories":["arts_1","arts_74","arts_1564","arts_990"],"tags":["arts_977","arts_1091"],"affiliates":["arts_10778"],"featImg":"arts_13922843","label":"arts_10778"},"arts_13922812":{"type":"posts","id":"arts_13922812","meta":{"index":"posts_1591205157","site":"arts","id":"13922812","score":null,"sort":[1671220213000]},"guestAuthors":[],"slug":"review-avatar-way-of-water-james-cameron","title":"Take the Plunge: Avatar's Underwater Scenes Are Immersive and Extraordinary","publishDate":1671220213,"format":"standard","headTitle":"Take the Plunge: Avatar’s Underwater Scenes Are Immersive and Extraordinary | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>I wouldn’t call \u003cem>Avatar: The Way of Water\u003c/em> one of the year’s best movies, but it’s undoubtedly one of the best movie-going experiences I’ve had in a while. I had more or less the same reaction to James Cameron’s first \u003ca href=\"https://www.npr.org/sections/13.7/2009/12/avatar_movie_post.html\">\u003cem>Avatar\u003c/em> \u003c/a>in 2009. \u003c/p>\n\u003cp>It told a thin but trippy \u003cem>Dances with Wolves\u003c/em>-ian story about the colonizers v. the colonized, but the world building was spectacular: It was thrilling to visit the faraway moon called Pandora, with its immersive, digitally created jungle landscapes. It was thrilling, too, to root for the towering blue-skinned Na’vi people, brought to life through Cameron’s pioneering use of performance-capture technology, which translates actors’ movements and facial expressions into computer-generated imagery.\u003c/p>\n\u003cp>And so it’s great to return to Pandora, although since many years have passed since the events of the first movie, there is some clunky exposition to get through. Sam Worthington again plays Jake Sully, a former human now reborn as a Na’vi man, and Zoe Saldaña returns as the fierce warrior princess Neytiri. They have four Na’vi children, including an adopted teenage daughter, Kiri. She’s played, through the magic of performance capture, by the decidedly not-teenage \u003ca href=\"https://www.npr.org/2012/07/19/157079318/sigourney-weavers-stately-role-in-political-animals\">Sigourney Weaver\u003c/a>. And Weaver, as you might recall, played a human scientist who was killed in the first \u003cem>Avatar\u003c/em>.\u003c/p>\n\u003cp>[pullquote]For some viewers, a little of this Mother Earth stuff will go a long way, though I’ve always found Cameron’s cornball sincerity hard to resist. He may push the technological envelope, but he’s an earnest, old-fashioned storyteller at heart.[/pullquote]How the older and younger Weaver characters are connected is one of the new movie’s mysteries, but it’s clear that Kiri is a child of unique gifts. In one scene, she tells Jake that she feels acutely in tune with Eywa, the powerful deity who maintains balance among all living things on Pandora, saying, “I hear her heartbeat. She’s so close. She’s just … there. Like a word about to be spoken.”\u003c/p>\n\u003cp>For some viewers, a little of this Mother Earth stuff will go a long way, though I’ve always found Cameron’s cornball sincerity hard to resist. He may push the technological envelope, but he’s an earnest, old-fashioned storyteller at heart. For all its visual sophistication and its three-hour-plus running time, \u003cem>Avatar: The Way of Water\u003c/em> tells a simple, straightforward story about a family in danger. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The villain here is once again Jake’s archenemy, Col. Miles Quaritch, played by a ferocious Stephen Lang. You might recall that he died in the first \u003cem>Avatar\u003c/em>, but Cameron’s science-fiction conceit is elastic enough to get over that hurdle. And this time, Quaritch himself has been resurrected as a Na’vi, making him even more fearsome and powerful. He has a score to settle, and so Jake and Neytiri take their kids and flee to the sea, where they hide out among a group of Na’vi beach dwellers.\u003c/p>\n\u003cp>The movie’s second act is basically a charming riff on \u003cem>Swiss Family Robinson\u003c/em>, as Jake and Neytiri receive a wary welcome from the community leaders, one of them played by a glaring \u003ca href=\"https://www.npr.org/2020/12/07/943842295/in-ammonite-kate-winslet-portrays-a-same-sex-love-story-without-secrecy-or-fear\">Kate Winslet\u003c/a>. The family is forced to adapt to an entirely new way of life. That means becoming much better swimmers and learning to communicate with the local wildlife, including a giant talking whale-like creature called a Tulkun. \u003c/p>\n\u003cp>[aside postID='forum_2010101891510']It may sound silly, but this is where the movie soars to life. Cameron knows a thing or two about underwater peril, as his movies \u003ca href=\"https://www.npr.org/2022/04/28/1095220224/titanic-was-king-of-the-world-25-years-ago-and-for-good-reason\">\u003cem>Titanic\u003c/em> \u003c/a>and \u003cem>The Abyss\u003c/em> bear out. He’s also an accomplished diver, and here, he plunges you into the watery depths and surrounds you with the most surreal-looking alien fish specimens you’ve ever seen. \u003c/p>\n\u003cp>In these moments, I didn’t feel like I was watching a movie so much as floating in one. In addition to the 3D, which I do recommend, Cameron has tried to heighten the level of detail by shooting at an unusually fast 48 frames per second. It looks a little too smooth at times, especially on dry land, but the effect is stunning underwater. I almost wished the movie would never leave the ocean floor, that it could just sustain this Jacques-Cousteau-on-mushrooms vibe for three hours. \u003c/p>\n\u003cp>But that’s not the Cameron way. He sometimes breaks his own spell by cutting away to Quaritch, which often feels jarring and not that interesting. And as superb as Cameron’s eye is, his dialogue remains as tin-eared as ever. But everything does come together in the movie’s action-heavy final act, which features extraordinarily well-orchestrated set-pieces both above and below water.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Quaritch is joined by some deadly human fighters too, and \u003cem>Avatar: The Way of Water\u003c/em> encourages us — successfully — to root against humanity for all the destruction it’s unleashed on the world. We’ve seen that before, including in the first \u003cem>Avatar\u003c/em>, but it speaks to Cameron’s real achievement, which is to bring us into total identification with these computer-generated Na’vi characters. I don’t know if that will be enough to sustain the \u003cem>Avatar\u003c/em> series over three upcoming sequels, but I’m already looking forward to another trip to this alien moon. Until then, Pandora, so long, and thanks for all the fish. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 Fresh Air. To see more, \u003ca href=\"http://www.npr.org/programs/fresh-air/\" rel=\"noopener noreferrer\" target=\"_blank\">visit Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Take+the+plunge%3A+Avatar%27s+underwater+scenes+are+immersive+and+extraordinary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"'Avatar: The Way of Water' may not be one of the best movies of the year, but it's one of the best movie-going experiences of the year. (Think: Jacques Cousteau on shrooms.)","status":"publish","parent":0,"modified":1705006049,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":967},"headData":{"title":"Take the Plunge: Avatar's Underwater Scenes Are Immersive and Extraordinary | KQED","description":"'Avatar: The Way of Water' may not be one of the best movies of the year, but it's one of the best movie-going experiences of the year. (Think: Jacques Cousteau on shrooms.)","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary","nprByline":"Justin Chang","nprImageAgency":"20th Century Films","nprStoryId":"1143105464","nprApiLink":"http://api.npr.org/query?id=1143105464&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/12/16/1143105464/avatar-way-of-water-sequel-review-james-cameron?ft=nprml&f=1143105464","nprRetrievedStory":"1","nprPubDate":"Fri, 16 Dec 2022 14:05:00 -0500","nprStoryDate":"Fri, 16 Dec 2022 10:56:51 -0500","nprLastModifiedDate":"Fri, 16 Dec 2022 14:05:31 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/12/20221216_fa_7b384769-8df2-4dc7-adb9-954a177a7a1d.mp3?orgId=427869011&topicId=4467349&d=408&p=13&story=1143105464&ft=nprml&f=1143105464","nprAudioM3u":"http://api.npr.org/m3u/11143524858-c0e63d.m3u?orgId=427869011&topicId=4467349&d=408&p=13&story=1143105464&ft=nprml&f=1143105464","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13922812/review-avatar-way-of-water-james-cameron","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2022/12/20221216_fa_7b384769-8df2-4dc7-adb9-954a177a7a1d.mp3?orgId=427869011&topicId=4467349&d=408&p=13&story=1143105464&ft=nprml&f=1143105464","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I wouldn’t call \u003cem>Avatar: The Way of Water\u003c/em> one of the year’s best movies, but it’s undoubtedly one of the best movie-going experiences I’ve had in a while. I had more or less the same reaction to James Cameron’s first \u003ca href=\"https://www.npr.org/sections/13.7/2009/12/avatar_movie_post.html\">\u003cem>Avatar\u003c/em> \u003c/a>in 2009. \u003c/p>\n\u003cp>It told a thin but trippy \u003cem>Dances with Wolves\u003c/em>-ian story about the colonizers v. the colonized, but the world building was spectacular: It was thrilling to visit the faraway moon called Pandora, with its immersive, digitally created jungle landscapes. It was thrilling, too, to root for the towering blue-skinned Na’vi people, brought to life through Cameron’s pioneering use of performance-capture technology, which translates actors’ movements and facial expressions into computer-generated imagery.\u003c/p>\n\u003cp>And so it’s great to return to Pandora, although since many years have passed since the events of the first movie, there is some clunky exposition to get through. Sam Worthington again plays Jake Sully, a former human now reborn as a Na’vi man, and Zoe Saldaña returns as the fierce warrior princess Neytiri. They have four Na’vi children, including an adopted teenage daughter, Kiri. She’s played, through the magic of performance capture, by the decidedly not-teenage \u003ca href=\"https://www.npr.org/2012/07/19/157079318/sigourney-weavers-stately-role-in-political-animals\">Sigourney Weaver\u003c/a>. And Weaver, as you might recall, played a human scientist who was killed in the first \u003cem>Avatar\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"For some viewers, a little of this Mother Earth stuff will go a long way, though I’ve always found Cameron’s cornball sincerity hard to resist. He may push the technological envelope, but he’s an earnest, old-fashioned storyteller at heart.","name":"pullquote","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>How the older and younger Weaver characters are connected is one of the new movie’s mysteries, but it’s clear that Kiri is a child of unique gifts. In one scene, she tells Jake that she feels acutely in tune with Eywa, the powerful deity who maintains balance among all living things on Pandora, saying, “I hear her heartbeat. She’s so close. She’s just … there. Like a word about to be spoken.”\u003c/p>\n\u003cp>For some viewers, a little of this Mother Earth stuff will go a long way, though I’ve always found Cameron’s cornball sincerity hard to resist. He may push the technological envelope, but he’s an earnest, old-fashioned storyteller at heart. For all its visual sophistication and its three-hour-plus running time, \u003cem>Avatar: The Way of Water\u003c/em> tells a simple, straightforward story about a family in danger. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The villain here is once again Jake’s archenemy, Col. Miles Quaritch, played by a ferocious Stephen Lang. You might recall that he died in the first \u003cem>Avatar\u003c/em>, but Cameron’s science-fiction conceit is elastic enough to get over that hurdle. And this time, Quaritch himself has been resurrected as a Na’vi, making him even more fearsome and powerful. He has a score to settle, and so Jake and Neytiri take their kids and flee to the sea, where they hide out among a group of Na’vi beach dwellers.\u003c/p>\n\u003cp>The movie’s second act is basically a charming riff on \u003cem>Swiss Family Robinson\u003c/em>, as Jake and Neytiri receive a wary welcome from the community leaders, one of them played by a glaring \u003ca href=\"https://www.npr.org/2020/12/07/943842295/in-ammonite-kate-winslet-portrays-a-same-sex-love-story-without-secrecy-or-fear\">Kate Winslet\u003c/a>. The family is forced to adapt to an entirely new way of life. That means becoming much better swimmers and learning to communicate with the local wildlife, including a giant talking whale-like creature called a Tulkun. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101891510","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It may sound silly, but this is where the movie soars to life. Cameron knows a thing or two about underwater peril, as his movies \u003ca href=\"https://www.npr.org/2022/04/28/1095220224/titanic-was-king-of-the-world-25-years-ago-and-for-good-reason\">\u003cem>Titanic\u003c/em> \u003c/a>and \u003cem>The Abyss\u003c/em> bear out. He’s also an accomplished diver, and here, he plunges you into the watery depths and surrounds you with the most surreal-looking alien fish specimens you’ve ever seen. \u003c/p>\n\u003cp>In these moments, I didn’t feel like I was watching a movie so much as floating in one. In addition to the 3D, which I do recommend, Cameron has tried to heighten the level of detail by shooting at an unusually fast 48 frames per second. It looks a little too smooth at times, especially on dry land, but the effect is stunning underwater. I almost wished the movie would never leave the ocean floor, that it could just sustain this Jacques-Cousteau-on-mushrooms vibe for three hours. \u003c/p>\n\u003cp>But that’s not the Cameron way. He sometimes breaks his own spell by cutting away to Quaritch, which often feels jarring and not that interesting. And as superb as Cameron’s eye is, his dialogue remains as tin-eared as ever. But everything does come together in the movie’s action-heavy final act, which features extraordinarily well-orchestrated set-pieces both above and below water.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Quaritch is joined by some deadly human fighters too, and \u003cem>Avatar: The Way of Water\u003c/em> encourages us — successfully — to root against humanity for all the destruction it’s unleashed on the world. We’ve seen that before, including in the first \u003cem>Avatar\u003c/em>, but it speaks to Cameron’s real achievement, which is to bring us into total identification with these computer-generated Na’vi characters. I don’t know if that will be enough to sustain the \u003cem>Avatar\u003c/em> series over three upcoming sequels, but I’m already looking forward to another trip to this alien moon. Until then, Pandora, so long, and thanks for all the fish. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 Fresh Air. To see more, \u003ca href=\"http://www.npr.org/programs/fresh-air/\" rel=\"noopener noreferrer\" target=\"_blank\">visit Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Take+the+plunge%3A+Avatar%27s+underwater+scenes+are+immersive+and+extraordinary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922812/review-avatar-way-of-water-james-cameron","authors":["byline_arts_13922812"],"categories":["arts_1","arts_74"],"tags":["arts_977"],"affiliates":["arts_10778"],"featImg":"arts_13922813","label":"arts_10778"},"arts_13922130":{"type":"posts","id":"arts_13922130","meta":{"index":"posts_1591205157","site":"arts","id":"13922130","score":null,"sort":[1669842126000]},"guestAuthors":[],"slug":"fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79","title":"Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79","publishDate":1669842126,"format":"standard","headTitle":"Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79 | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>Christine McVie, the British-born \u003ca href=\"https://www.npr.org/artists/102442872/fleetwood-mac\">Fleetwood Mac\u003c/a> vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as “You Make Loving Fun,” “Everywhere” and “Don’t Stop,” died Wednesday at age 79.\u003c/p>\n\u003cp>Her death was announced on the band’s social media accounts. No cause of death or other details were immediately provided, but a family statement said she “passed away peacefully at hospital this morning” with family around her after a “short illness.”\u003c/p>\n\u003cp>“She was truly one-of-a-kind, special and talented beyond measure,” the band’s statement reads in part.\u003c/p>\n\u003cfigure id=\"attachment_13922131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg\" alt=\"a black and white photo of a five-person band in the seventies\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-2048x1445.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1920x1355.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of the rock group Fleetwood Mac, from left, Lindsey Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie pose with their Album of the Year Grammy Award for ‘Rumours’ in Los Angeles, Feb. 23, 1978. Christine McVie, the soulful British musician who sang lead on many of Fleetwood Mac’s biggest hits, has died at 79. The band announced her death on social media Wednesday. \u003ccite>(AP Photo/Richard Drew/File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McVie was a steady presence and personality in a band known for its frequent lineup changes and volatile personalities — notably fellow singer-songwriters \u003ca href=\"https://www.npr.org/2020/11/04/930448701/stevie-nicks-on-tiktok-tom-petty-and-claiming-whats-yours\">Stevie Nicks \u003c/a>and \u003ca href=\"https://www.npr.org/2011/09/17/140513778/lindsey-buckingham-a-time-to-every-purpose\">Lindsey Buckingham\u003c/a>.\u003c/p>\n\u003cp>During its peak commercial years, from 1975-80, the band sold tens of millions of records and was an ongoing source of fascination for fans as it transformed personal battles into melodic, compelling songs. McVie herself had been married to bassist John McVie, and their breakup — along with the split of Nicks and Buckingham — was famously documented on the 1977 release \u003ca href=\"https://www.npr.org/sections/allsongs/2013/01/29/170552631/why-ive-never-liked-fleetwood-macs-rumours\">“Rumours,”\u003c/a> among the bestselling albums of all time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fleetwood Mac, co-founded by drummer Mick Fleetwood in 1967, was inducted into the Rock and Roll Hall of Fame in 1998. The group’s many other hit singles included “Dreams,” “Go Your Own Way” and “Little Lies.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fleetwood+Mac+singer-songwriter+Christine+McVie+dies+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The British-born vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as \"You Make Loving Fun,\" \"Everywhere\" and \"Don't Stop,\" died Wednesday.","status":"publish","parent":0,"modified":1705006114,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":346},"headData":{"title":"Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79 | KQED","description":"The British-born vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as "You Make Loving Fun," "Everywhere" and "Don't Stop," died Wednesday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"The Associated Press","nprStoryId":"1139955248","nprApiLink":"http://api.npr.org/query?id=1139955248&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/11/30/1139955248/fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79?ft=nprml&f=1139955248","nprRetrievedStory":"1","nprPubDate":"Wed, 30 Nov 2022 15:41:00 -0500","nprStoryDate":"Wed, 30 Nov 2022 15:25:24 -0500","nprLastModifiedDate":"Wed, 30 Nov 2022 15:41:33 -0500","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13922130/fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christine McVie, the British-born \u003ca href=\"https://www.npr.org/artists/102442872/fleetwood-mac\">Fleetwood Mac\u003c/a> vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as “You Make Loving Fun,” “Everywhere” and “Don’t Stop,” died Wednesday at age 79.\u003c/p>\n\u003cp>Her death was announced on the band’s social media accounts. No cause of death or other details were immediately provided, but a family statement said she “passed away peacefully at hospital this morning” with family around her after a “short illness.”\u003c/p>\n\u003cp>“She was truly one-of-a-kind, special and talented beyond measure,” the band’s statement reads in part.\u003c/p>\n\u003cfigure id=\"attachment_13922131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg\" alt=\"a black and white photo of a five-person band in the seventies\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-2048x1445.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1920x1355.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of the rock group Fleetwood Mac, from left, Lindsey Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie pose with their Album of the Year Grammy Award for ‘Rumours’ in Los Angeles, Feb. 23, 1978. Christine McVie, the soulful British musician who sang lead on many of Fleetwood Mac’s biggest hits, has died at 79. The band announced her death on social media Wednesday. \u003ccite>(AP Photo/Richard Drew/File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McVie was a steady presence and personality in a band known for its frequent lineup changes and volatile personalities — notably fellow singer-songwriters \u003ca href=\"https://www.npr.org/2020/11/04/930448701/stevie-nicks-on-tiktok-tom-petty-and-claiming-whats-yours\">Stevie Nicks \u003c/a>and \u003ca href=\"https://www.npr.org/2011/09/17/140513778/lindsey-buckingham-a-time-to-every-purpose\">Lindsey Buckingham\u003c/a>.\u003c/p>\n\u003cp>During its peak commercial years, from 1975-80, the band sold tens of millions of records and was an ongoing source of fascination for fans as it transformed personal battles into melodic, compelling songs. McVie herself had been married to bassist John McVie, and their breakup — along with the split of Nicks and Buckingham — was famously documented on the 1977 release \u003ca href=\"https://www.npr.org/sections/allsongs/2013/01/29/170552631/why-ive-never-liked-fleetwood-macs-rumours\">“Rumours,”\u003c/a> among the bestselling albums of all time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fleetwood Mac, co-founded by drummer Mick Fleetwood in 1967, was inducted into the Rock and Roll Hall of Fame in 1998. The group’s many other hit singles included “Dreams,” “Go Your Own Way” and “Little Lies.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fleetwood+Mac+singer-songwriter+Christine+McVie+dies+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922130/fleetwood-mac-singer-songwriter-christine-mcvie-dies-at-79","authors":["byline_arts_13922130"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_2836","arts_1091","arts_905"],"affiliates":["arts_10778"],"featImg":"arts_13922133","label":"arts_10778"},"arts_13921777":{"type":"posts","id":"arts_13921777","meta":{"index":"posts_1591205157","site":"arts","id":"13921777","score":null,"sort":[1668729274000]},"guestAuthors":[],"slug":"the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance","title":"The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance","publishDate":1668729274,"format":"standard","headTitle":"The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster’s Dominance | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.","status":"publish","parent":0,"modified":1705006144,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1413},"headData":{"title":"The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance | KQED","description":"Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Jamie McCarthy","nprByline":"Rachel Treisman","nprImageAgency":"Getty Images for MTV/Paramount G","nprStoryId":"1137465465","nprApiLink":"http://api.npr.org/query?id=1137465465&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee?ft=nprml&f=1137465465","nprRetrievedStory":"1","nprPubDate":"Thu, 17 Nov 2022 15:57:00 -0500","nprStoryDate":"Thu, 17 Nov 2022 15:57:10 -0500","nprLastModifiedDate":"Thu, 17 Nov 2022 15:57:10 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906513","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13846754","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13841293","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13884673","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance","authors":["byline_arts_13921777"],"categories":["arts_1","arts_69","arts_235","arts_75"],"tags":["arts_19106","arts_3219","arts_3026","arts_4802"],"affiliates":["arts_10778"],"featImg":"arts_13921780","label":"arts_10778"},"arts_13917896":{"type":"posts","id":"arts_13917896","meta":{"index":"posts_1591205157","site":"arts","id":"13917896","score":null,"sort":[1661197366000]},"guestAuthors":[],"slug":"aklasan-fest-filipino-punk-bindlestiff-photos","title":"Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return","publishDate":1661197366,"format":"standard","headTitle":"Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n","blocks":[],"excerpt":"In San Francisco, Bindlestiff Studios celebrated the often unheard and unseen Filipino voices of punk.","status":"publish","parent":0,"modified":1705006468,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1326},"headData":{"title":"Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return | KQED","description":"In San Francisco, Bindlestiff Studios celebrated the often unheard and unseen Filipino voices of punk.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"aklasan-fest-the-only-filipino-punk-festival-in-the-u-s-celebrates-its-return","nprByline":"Justin Katigbak","nprImageAgency":"Justin Katigbak for NPR","nprStoryId":"1116742810","nprApiLink":"http://api.npr.org/query?id=1116742810&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/pictureshow/2022/08/19/1116742810/san-francisco-aklasan-filipino-punk-festival-returns?ft=nprml&f=1116742810","nprRetrievedStory":"1","nprPubDate":"Fri, 19 Aug 2022 11:25:00 -0400","nprStoryDate":"Fri, 19 Aug 2022 09:01:12 -0400","nprLastModifiedDate":"Fri, 19 Aug 2022 11:25:02 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13917896/aklasan-fest-filipino-punk-bindlestiff-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917896/aklasan-fest-filipino-punk-bindlestiff-photos","authors":["byline_arts_13917896"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_913","arts_1146","arts_4903","arts_8836"],"affiliates":["arts_10778"],"featImg":"arts_13917897","label":"arts_10778"},"arts_13913932":{"type":"posts","id":"arts_13913932","meta":{"index":"posts_1591205157","site":"arts","id":"13913932","score":null,"sort":[1653508718000]},"guestAuthors":[],"slug":"how-to-help-uvalde-families-following-yesterdays-elementary-school-shooting","title":"How to Help Uvalde Families Following the Texas Elementary School Shooting","publishDate":1653508718,"format":"standard","headTitle":"How to Help Uvalde Families Following the Texas Elementary School Shooting | KQED","labelTerm":{"term":10778,"site":"arts"},"content":"\u003cp>\u003cstrong>Updated May 25, 2022 at 2:50 PM ET.\u003c/strong>\u003c/p>\n\u003cp>Uvalde, Texas, is reeling from the \u003ca href=\"https://www.npr.org/2022/05/24/1101037902/texas-elementary-school-shooting-uvalde\" target=\"_blank\" rel=\"noopener noreferrer\">second-deadliest school shooting\u003c/a> in U.S. history after a gunman killed at least 19 children and two adults at Robb Elementary School on Tuesday.\u003c/p>\n\u003cp>Many family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>[aside postid='news_11764070']South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13881725']Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>[aside postid='mindshift_59143']People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The community is seeking blood donations, legal assistance and funds for victims' families. ","status":"publish","parent":0,"modified":1705006806,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":779},"headData":{"title":"How to Help Uvalde Families Following the Texas Elementary School Shooting | KQED","description":"The community is seeking blood donations, legal assistance and funds for victims' families. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Jordan Vonderhaar","nprByline":"Rachel Treisman","nprImageAgency":"Getty Images","nprStoryId":"1101161673","nprApiLink":"http://api.npr.org/query?id=1101161673&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/05/25/1101161673/how-to-help-uvalde-school-shooting?ft=nprml&f=1101161673","nprRetrievedStory":"1","nprPubDate":"Wed, 25 May 2022 15:43:00 -0400","nprStoryDate":"Wed, 25 May 2022 09:09:15 -0400","nprLastModifiedDate":"Wed, 25 May 2022 15:43:36 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13913932/how-to-help-uvalde-families-following-yesterdays-elementary-school-shooting","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated May 25, 2022 at 2:50 PM ET.\u003c/strong>\u003c/p>\n\u003cp>Uvalde, Texas, is reeling from the \u003ca href=\"https://www.npr.org/2022/05/24/1101037902/texas-elementary-school-shooting-uvalde\" target=\"_blank\" rel=\"noopener noreferrer\">second-deadliest school shooting\u003c/a> in U.S. history after a gunman killed at least 19 children and two adults at Robb Elementary School on Tuesday.\u003c/p>\n\u003cp>Many family members—some of whom \u003ca href=\"https://www.businessinsider.com/families-texas-school-shooting-give-dna-swabs-help-identify-victims-2022-5\" target=\"_blank\" rel=\"noopener noreferrer\">gave DNA swabs\u003c/a> to help investigators identify victims—waited for hours for news of their loved ones.\u003c/p>\n\u003cp>Onlookers in and beyond Texas may be wondering what support they can offer. The community is looking for blood donations, legal assistance and funds for victims’ families. Read on to learn how you can help.\u003c/p>\n\u003ch3>Donate blood in the days and weeks ahead\u003c/h3>\n\u003cp>University Health System—the \u003ca href=\"https://www.npr.org/live-updates/texas-school-shooting-2022-05-24#blood-drives-have-been-set-up-across-uvalde-for-shooting-victims\" target=\"_blank\" rel=\"noopener noreferrer\">largest transfuser of blood\u003c/a> in the San Antonio area—is encouraging community members to donate blood to hospitals and centers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Your donation can help ensure we have supplies immediately available for the victims of this tragic shooting,” \u003ca href=\"https://twitter.com/UnivHealthSA/status/1529218935803023360?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">it tweeted\u003c/a>. Many of its online appointments are booked through the end of the month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11764070","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>South Texas Blood & Tissue \u003ca href=\"https://biobridgeglobal.org/community/our-thoughts-right-now-are-with-the-community-of-uvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">said on Tuesday\u003c/a> that thanks to donors, it was able to send 15 units of blood to the school and local hospitals immediately after the shooting, and another 10 to an area hospital later in the day upon request.\u003c/p>\n\u003cp>“We will continue to work with hospitals in the area to make blood available as it’s needed and to rebuild their supply for other patients in need,” the organization said.\u003c/p>\n\u003cp>The blood center is holding an \u003ca href=\"https://donor.southtexasblood.org/donor/schedules/drive_schedule/136932\" target=\"_blank\" rel=\"noopener noreferrer\">emergency blood drive\u003c/a> in Uvalde on today, which it said has already filled up with appointments. It \u003ca href=\"https://twitter.com/connectforlife/status/1529260646117916672?s=20&t=veAMHOkaO_o05ntqt6dZdA\" target=\"_blank\" rel=\"noopener noreferrer\">later tweeted\u003c/a> that donors were experiencing a 2-hour wait time and that all of its appointments were booked through Saturday. But the center stressed that help would still be needed after beyond that point, added slots to its \u003ca href=\"https://biobridgeglobal.org/events/list/?tribe_eventcategory%5B0%5D=468&skin=donors\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day blood drive\u003c/a> and encouraged people to \u003ca href=\"https://biobridgeglobal.org/donors/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule (and keep) appointments\u003c/a> for the following week.\u003c/p>\n\u003cp>“This tragedy highlights the importance of always having blood available on the shelf and before it’s needed,” the center said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.redcrossblood.org/faq.html\" target=\"_blank\" rel=\"noopener noreferrer\">Learn more about the blood donation process.\u003c/a>\u003c/p>\n\u003ch3>Support verified fundraisers\u003c/h3>\n\u003cp>GoFundMe has established an online hub of verified fundraisers supporting victims and loved ones affected by the shooting, which \u003ca href=\"https://www.gofundme.com/c/act/donate-to-texas-elementary-school-shooting-relief\" target=\"_blank\" rel=\"noopener noreferrer\">you can find here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881725","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Those include \u003ca href=\"https://www.gofundme.com/f/mtdrdc-texas-elementary-school-shooting-victims-fund\" target=\"_blank\" rel=\"noopener noreferrer\">a fundraiser organized by VictimsFirst\u003c/a> (a network of survivors and relatives affected by previous mass shootings) to provide victims’ family members with no-strings-attached cash payments.\u003c/p>\n\u003cp>The group said it started the fund “to make sure that 100% of what is collected goes DIRECTLY to the victim base so the victims’ families and those wounded/injured are protected from fraud and exploitation.”\u003c/p>\n\u003cp>As of Wednesday morning, all three verified fundraisers—the VictimsFirst fund, a campaign raising money for funeral expenses for the \u003ca href=\"https://www.gofundme.com/f/please-help-us-put-our-newly-angel-to-rest\" target=\"_blank\" rel=\"noopener noreferrer\">family of Xavier Lopez\u003c/a> and a fundraiser by Austin-based \u003ca href=\"https://www.gofundme.com/f/robb-elementary-school-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Los Verdes Supporter Group\u003c/a>—had exceeded their financial goals.\u003c/p>\n\u003cp>Two funeral homes in the area, \u003ca href=\"https://www.facebook.com/RushEstesKnowMortUvalde/\" target=\"_blank\" rel=\"noopener noreferrer\">Rushing-Estes Mortuary Uvalde\u003c/a> and \u003ca href=\"https://www.facebook.com/hillcrestfh/photos/a.317618715397540/1334905853668816/\" target=\"_blank\" rel=\"noopener noreferrer\">Hillcrest Memorial Funeral Home\u003c/a>, said in social media posts that they would offer their services to families for free.\u003c/p>\n\u003ch3>More places to donate\u003c/h3>\n\u003cp>The \u003ca href=\"https://www.ucisd.net/\" target=\"_blank\" rel=\"noopener noreferrer\">school district\u003c/a> in Uvalde has opened \u003ca href=\"https://twitter.com/Uvalde_CISD/status/1529515364152901633?s=20&t=RJqsE_eeWdJcG6v1MH5uzw\" target=\"_blank\" rel=\"noopener noreferrer\">an official account\u003c/a> with \u003ca href=\"https://www.fsbuvalde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">First State Bank of Uvalde\u003c/a> to support Robb Elementary families affected by the tragedy. People can send checks through the mail (payable to the “Robb School Memorial Fund”) or donate money through Zelle to robbschoolmemorialfund@gmail.com\u003c/p>\n\u003cp>Other institutions and organizations are also raising money for the community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"mindshift_59143","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>People can donate directly to a \u003ca href=\"https://www.universityhealthsystem.com/ways-to-give/donate-to-a-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Uvalde Victims Relief Fund created\u003c/a> by University Health, for example.\u003c/p>\n\u003cp>The League of United Latin American Citizens (LULAC) has created \u003ca href=\"https://lulac.org/uvaldefund/\" target=\"_blank\" rel=\"noopener noreferrer\">a fund for victims and survivors\u003c/a>, and says 100% of contributions will go directly to their families.\u003c/p>\n\u003cp>“Where 90 percent of the students of Robb Elementary School identify as Hispanics and more than four-fifths are economically disadvantaged, this community NEEDS our collective prayers, help, and support,” the group wrote.\u003c/p>\n\u003ch3>The community is seeking volunteer legal services\u003c/h3>\n\u003cp>The San Antonio Legal Services Association is seeking volunteer attorneys who are licensed to practice in the state of Texas, according to \u003ca href=\"https://www.facebook.com/SALSASanAntonio/posts/550018863333129\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a>.\u003c/p>\n\u003cp>“Volunteer NOW to assist Uvalde Shooting Victims and Families with Unmet Legal Needs,” it wrote. “SALSA will respond with pro bono assistance as called upon to do so by community partners and civil leaders over the coming weeks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The organization is asking qualified attorneys to email them with their area of practice and availability through the month of June.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+to+help+Uvalde+families+following+yesterday%27s+elementary+school+shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13913932/how-to-help-uvalde-families-following-yesterdays-elementary-school-shooting","authors":["byline_arts_13913932"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_3080","arts_3081","arts_17620","arts_3914"],"affiliates":["arts_10778"],"featImg":"arts_13913933","label":"arts_10778"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"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. 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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. 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