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"title": "Notebook: A Month Into R. Kelly's Trial, Here's What it's Been Like in the Courtroom",
"headTitle": "Notebook: A Month Into R. Kelly’s Trial, Here’s What it’s Been Like in the Courtroom | KQED",
"content": "\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>[aside postid='arts_13900892']When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>[aside postid='arts_13901400']None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>[aside postid='pop_109968']Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>[aside postid='pop_108417']In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: Rick Astley Performs The Smiths’ ‘This Charming Man’ Better Than Morrissey",
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"content": "\u003cp>For years now, Bay Area music fans have been wrestling with The Morrissey Problem. This philosophical quandary is best described as the state of being desirous of listening to music by Morrissey and The Smiths, while simultaneously feeling thoroughly repelled by the singer’s poor treatment of his own fans. In recent years, the condition has been further exacerbated by Morrissey’s perplexing (and often deeply offensive) personal viewpoints.\u003c/p>\n\u003cp>The Morrissey Problem has been taunting the Bay Area for almost a decade now. It first took hold between December 2011 and April 2013 when the singer failed to show up to concerts fans were looking forward to at the Fox Theater, Davies Symphony Hall (twice), the Regency Ballroom, \u003cem>and\u003c/em> the Warfield.\u003c/p>\n\u003cp>[aside postid='pop_97306']Then, in 2018, Morrissey made things even worse by \u003ca href=\"https://www.kqed.org/pop/103129/morrissey-completes-transition-into-your-most-racist-uncle\" target=\"_blank\" rel=\"noopener noreferrer\">giving an interview\u003c/a> to his own website in which he expressed a variety of opinions best described as abhorrent. These included assertions that Hitler was leftwing, all halal meat is made by supporters of ISIS, and that political correctness was preventing people of color from being arrested for crimes they had committed (???).\u003c/p>\n\u003cp>It should come as some relief then that this week a remedy to The Morrissey Problem finally presented itself. It arrived via footage from a Sept. 13 show at London’s Kentish Town Forum, in which an impassioned rendition of Smiths’ classic “This Charming Man” was performed. The vocals were on point, the pompadour was in place, the audience sang along, and the mood was positively cathartic. How did this miracle happen, you ask? The answer—*triple checks notes*—is Rick Astley.\u003c/p>\n\u003cp>Yup. Rickrolling, “Never Gonna Give You Up,” scourge of YouTube, Rick Astley. But before you balk, just take a look at this footage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XluAp8yEhZ8\u003c/p>\n\u003cp>Nailed it!\u003c/p>\n\u003cp>Astley joined Blossoms at the end of their headlining set at the 2,300-person venue to perform both “This Charming Man” and “Panic.” It was a small taster of what’s to come next month when Astley and the English indie pop quintet join forces for two full sets of Smiths covers. The first will take place in Morrissey’s hometown, Manchester, at the Albert Hall on Oct. 8. The following night, they’ll be back at the Forum in London.\u003c/p>\n\u003cp>Blossoms also released a sneak preview on their YouTube channel:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gO2grvC9fdM\u003c/p>\n\u003cp>Needless to say, the internet was very pleased with this development.\u003c/p>\n\u003cp>https://twitter.com/LauraJaneGrace/status/1438128561949396993\u003c/p>\n\u003cp>https://twitter.com/stuartdredge/status/1438086260971741191\u003c/p>\n\u003cp>https://twitter.com/JGoldsbie/status/1438152751695937543\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The campaign to get a Rick Astley-fronted Smiths tour to California starts now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years now, Bay Area music fans have been wrestling with The Morrissey Problem. This philosophical quandary is best described as the state of being desirous of listening to music by Morrissey and The Smiths, while simultaneously feeling thoroughly repelled by the singer’s poor treatment of his own fans. In recent years, the condition has been further exacerbated by Morrissey’s perplexing (and often deeply offensive) personal viewpoints.\u003c/p>\n\u003cp>The Morrissey Problem has been taunting the Bay Area for almost a decade now. It first took hold between December 2011 and April 2013 when the singer failed to show up to concerts fans were looking forward to at the Fox Theater, Davies Symphony Hall (twice), the Regency Ballroom, \u003cem>and\u003c/em> the Warfield.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then, in 2018, Morrissey made things even worse by \u003ca href=\"https://www.kqed.org/pop/103129/morrissey-completes-transition-into-your-most-racist-uncle\" target=\"_blank\" rel=\"noopener noreferrer\">giving an interview\u003c/a> to his own website in which he expressed a variety of opinions best described as abhorrent. These included assertions that Hitler was leftwing, all halal meat is made by supporters of ISIS, and that political correctness was preventing people of color from being arrested for crimes they had committed (???).\u003c/p>\n\u003cp>It should come as some relief then that this week a remedy to The Morrissey Problem finally presented itself. It arrived via footage from a Sept. 13 show at London’s Kentish Town Forum, in which an impassioned rendition of Smiths’ classic “This Charming Man” was performed. The vocals were on point, the pompadour was in place, the audience sang along, and the mood was positively cathartic. How did this miracle happen, you ask? The answer—*triple checks notes*—is Rick Astley.\u003c/p>\n\u003cp>Yup. Rickrolling, “Never Gonna Give You Up,” scourge of YouTube, Rick Astley. But before you balk, just take a look at this footage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The campaign to get a Rick Astley-fronted Smiths tour to California starts now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "10-years-of-soy-raka-a-look-back-with-panamanian-hip-hop-duo-los-rakas",
"title": "10 Years of 'Soy Raka': A Look Back With Panamanian Hip-Hop Duo Los Rakas",
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"headTitle": "10 Years of ‘Soy Raka’: A Look Back With Panamanian Hip-Hop Duo Los Rakas | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> Los Rakas banner hung above the crowd last Friday night as the Grammy-nominated duo took the stage at the New Parish. It had been two years since Raka Dun and Raka Rich last performed in Oakland, and they were ready for the hometown love.\u003c/p>\n\u003cp>The show celebrated the 10-year anniversary of the release of Los Rakas’ first project, \u003ca href=\"https://losrakas.bandcamp.com/album/chancletas-y-camisetas-bordada\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Chancletas Y Camisetas Bordada\u003c/i>\u003c/a>, which features the anthem “\u003ca href=\"https://www.youtube.com/watch?v=iHsncI2j2fk\" target=\"_blank\" rel=\"noopener noreferrer\">Soy Raka\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13902918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02432-800x535.jpg\" alt=\"Raka Rich wears a turquoise jogging suit and a hat as he performs in front of a crowd at New Parish in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas were joined onstage with performances from \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> who celebrated a birthday over the weekend; \u003ca href=\"https://www.instagram.com/cocopeila/\" target=\"_blank\" rel=\"noopener noreferrer\">Coco Peila\u003c/a>, who recently “\u003ca href=\"https://www.youtube.com/watch?v=uIx_7KJV_1Y\" target=\"_blank\" rel=\"noopener noreferrer\">Pretty Girls\u003c/a>“; and \u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, who was joined by members of the \u003ca href=\"https://www.instagram.com/putangclanofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">Pu-Tang Clan\u003c/a>.\u003c/p>\n\u003cp>There were also a bunch of folks in the crowd who’ve followed \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a> since before their debut EP. I’m one of them. After meeting Dun and Rico in 2004 through the nonprofit Youth Movement Records, I’ve followed their career, captured photos of them, and watched them grow.\u003c/p>\n\u003cp>The two hungry young creatives I met almost two decades ago, who stood out as Oakland-based Afro-Latino hip-hop artists, have grown to leverage their identity and become widely accepted and appreciated in the Bay Area and beyond. Now in their mid-30s, the hip-hop veterans are even seeing their influence on a new generation coming up.\u003c/p>\n\u003cfigure id=\"attachment_13902919\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4114-800x600.jpg\" alt=\"Raka Dun and Do D.A.T. pose for a photo during a performance at SF State (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun and Do D.A.T. pose for a photo during a performance at SF State, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Rakas’ story goes further back than the early 2000s. It starts with their family’s roots in Panama, and involves the support of the artistic community of the greater Oakland-Bay Area. Along the way, they’ve been featured on the soundtrack to \u003ca href=\"https://www.ea.com/games/fifa/news/fifa-14-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">FIFA 14\u003c/a>, appeared on the popular podcast \u003ci>Loud\u003c/i>, had multiple songs reach the top iTunes charts, \u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" rel=\"noopener noreferrer\" target=\"_blank\">performed at the White House\u003c/a>, and met Mýa on the red carpet for the Grammys—a career highlight for Rico, who watched her videos on the California Music Channel as a kid. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before traveling the world and letting audiences know “Soy Raka,” they got their start in music working under the tutelage of two late Bay Area luminaries. \u003c/p>\n\u003cfigure id=\"attachment_13902920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04535-800x532.jpg\" alt=\"Raka Rich performing at the Life is Living festival in West Oakland (circa 2013). \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the Life is Living festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You remember who was the first artist who gave us a chance in the Bay Area?” Dun asks Rico during a three-way phone call a few weeks ago.\u003c/p>\n\u003cp>“The Jacka,” says Rico, citing a studio session which led to the track “\u003ca href=\"https://www.youtube.com/watch?v=3ldBrEyTn9M\" target=\"_blank\" rel=\"noopener noreferrer\">Gangsta\u003c/a>.” \u003c/p>\n\u003cp>Raka Dun says to think back a little further. “It was Zion-I.”\u003c/p>\n\u003cp>A lot of artists embraced Los Rakas in their early days, despite being somewhat of an anomaly—Black men who speak Spanish as their first language. But it was Zion-I, Dun says, who put them front and center. \u003c/p>\n\u003cp>“Every time Zion-I would perform,” says Raka Dun, “they’d throw us on the stage at the end to freestyle. A lot of people were recognizing us because of that. Zion-I, Steve, Zumbi was our first big collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13902921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC01816-800x532.jpg\" alt=\"The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for 'Human Being,' in 2012. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for ‘Human Being’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas’ first tour was with \u003ca href=\"https://www.instagram.com/thegrouch/\">The Grouch\u003c/a>, \u003ca href=\"https://www.instagram.com/brotheraliisblind/\">Brother Ali\u003c/a>, and \u003ca href=\"https://www.instagram.com/therealeligh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Eligh\u003c/a>. They soon learned that tour time wasn’t a party—it was work. And their job wasn’t just performing, it was getting to know people and selling merchandise.\u003c/p>\n\u003cp>Now, their logo is arguably more popular than their music. “Sometimes people would miss our shows because we were the opener,” says Raka Dun. “But they’d buy the merch.” \u003c/p>\n\u003cp>The duo’s logo was partially inspired by the \u003ca href=\"https://uproxx.com/music/hieroglyphics-logo-underground-hip-hop/\" rel=\"noopener noreferrer\" target=\"_blank\">Hiero logo\u003c/a>, which they saw everywhere. To develop it, they met with a guy named Daniel Walker at \u003ca href=\"http://filthydripped.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filthy Dripped\u003c/a> in Berkeley and worked through various iterations, ultimately incorporating Oakland, Panama and a little bit of Mexico. \u003c/p>\n\u003cfigure id=\"attachment_13902922\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02374-800x535.jpg\" alt=\"A fan flicks a lighter during Raka Dun's performance at the New Parish on Friday evening. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan flicks a lighter during Raka Dun’s performance at the New Parish on Sept. 10, 2021. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rico suggested adding the smile to cancel the stereotype about Rakas being from the hood and being angry,” says Dun. Just like their name reclaims the term “Raka” (short for “\u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" target=\"_blank\" rel=\"noopener noreferrer\">Rakataka\u003c/a>,” a derogatory term for someone from the ghetto), the duo wanted to work the same energy into their logo. “Just because you’re from the ghetto doesn’t mean that you’re always angry,” says Rico. \u003c/p>\n\u003cp>Inside the character’s huge smile is one tiny gold tooth that symbolizes a gigantic cultural connection. \u003c/p>\n\u003cfigure id=\"attachment_13902975\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg\" alt=\"\" width=\"160\" height=\"141\" class=\"size-thumbnail wp-image-13902975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo.jpg 700w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Los Rakas’ logo.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a Panamanian thing,” says Dun of the singular gold tooth. “My mom had one, my dad had one, Rico’s mom… Rico’s dad had eight!” he says with a laugh, before Rico picks up where Dun left off. “My grandpa had one, my grandma had one, my great grandmother had two, like Turk, from Cash Money.”\u003c/p>\n\u003cp>When the duo met Tupac’s brother, Mopreme Shakur, he told them that he got his singular gold tooth in Panama. As West Coast American rap fans from the Latin American country, their minds were blown. \u003c/p>\n\u003cp>Reflecting life in the Bay Area during the early years of the 21st century, the group added glasses without the lenses as a nod to Mac Dre. And the final addition: a hat with the ear flaps. \u003c/p>\n\u003cp>“We chose that because it was this Mexican program called \u003ca href=\"https://www.imdb.com/title/tt0229889/\" target=\"_blank\" rel=\"noopener noreferrer\">El Chavo Del Ocho\u003c/a>,” says Rico, noting how the main character would don similar headwear. “So when I came out here to the states and I saw those hats, I’d cop them every time.” When Rico and Dun went back to Panama to promote their single “Mi Barrio,” everyone asked him about the hat, so it was looped in the image of Los Rakas.\u003c/p>\n\u003cfigure id=\"attachment_13902923\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4115-800x600.jpg\" alt=\"Raka Rich (center in the grey hoodie) stands with a number of young artists outside of East Oakland's Youth Uprising (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich (at center, in the grey hoodie) stands with a number of young artists outside of East Oakland’s Youth Uprising, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n many ways the logo speaks to Los Rakas’ balanced identity while beating the pavement and hitting stages with bilingual lyrics about both politics and partying—and performing in front of crowds who largely only speak English. \u003c/p>\n\u003cp>On a recent episode of \u003ca href=\"https://www.kqed.org/forum/2010101885060/loud-podcast-highlights-the-history-of-reggaeton\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum\u003c/a>, the duo discussed the popularity of reggaeton and its origins rooted in the children of Jamaican laborers working on the Panama Canal. They also mentioned that English speaking crowds in the states take to their music despite the language barrier, with the prevailing sentiment being “I don’t know what they’re saying, but it sounds good.” \u003c/p>\n\u003cp>Rico tells me that he’s proud of that. After all, he and Dun, blood cousins born in Panama who moved to the states separately during their adolescence, grew up listening to all kinds of music in languages they didn’t speak, too.\u003c/p>\n\u003cfigure id=\"attachment_13902924\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg\" alt=\"The Los Rakas medallion sits on Raka Duns white shirt as he performs at the Life Is Living Festival in West Oakland circa 2013)\" width=\"160\" height=\"249\" class=\"size-thumbnail wp-image-13902924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-800x1247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1020x1590.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-768x1197.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-986x1536.jpg 986w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1314x2048.jpg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389.jpg 1388w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun performs at the Life Is Living Festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they started on this musical journey, Rico says Oakland’s hip-hop community wasn’t feeling Spanish music. Raka Dun says they had to adapt, especially because they were working with the likes of The Jacka, J. Stalin, and Zumbi from Zion-I.\u003c/p>\n\u003cp>Plus, being in the Bay, they weren’t getting too many reggaeton beats; this, again, was in the thick of the Hyphy era. “We had to hop on whatever we could hop on,” says Rico. “That’s how we became \u003ci>Los Rakas\u003c/i>.” The combination of Panamanian influence and Bay Area energy made them unique. And it resonated with people. \u003c/p>\n\u003cp>“We’d have people that’d come up to us, rap the whole verse, and be like, ‘I don’t even speak Spanish. I’m learning Spanish through your music,’” says Rico.\u003c/p>\n\u003cp>A few weeks ago the group got \u003ca href=\"https://twitter.com/LosRakas/status/1423347834133237762/photo/1\">a message\u003c/a> from a fan who said he used to watch YouTube videos of them as a kid. Over a decade later he was rejoicing in the fact that they’re still rocking. \u003c/p>\n\u003cp>“The tweet, it makes me feel good, man,” says Dun. “That’s what we do it for. That’s the type of message that keeps us motivated. This dude saying that we changed his life, he’s giving us the flowers. We do this first of all because we love it. And then it’s for the people, we want to make sure we give the people good music just like our favorite artists gave us timeless music. And sometimes this shit gets hard. We’re artists who don’t have the numbers, we got the respect, we’ve influenced lots of artists, but we don’t have millions of streams on our music, so stuff like that keeps us really motivated. We’re getting to the people.” \u003c/p>\n\u003cp>Rico adds that they see the success of similar music today, and they know they played a significant part in pioneering the sound that’s popular right now. “To see how far it’s gotten, it’s bittersweet,” says Rico, thinking about how the pioneers of rap aren’t living how they should be living, given what they’ve done for the culture. “We been out here for 16 years. Grinding.”\u003c/p>\n\u003cp>And the grind doesn’t stop. Now it’s time to cultivate the next generation. \u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=VxXSOxEV49s\">https://www.youtube.com/watch?v=VxXSOxEV49s\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the time since their 2019 album, \u003cem>\u003ca href=\"https://soundcloud.com/losrakas/sets/manes-de-negocio-1\" target=\"_blank\" rel=\"noopener noreferrer\">Manes De Negocio\u003c/a>, \u003c/em>the duo have released a series of solo tracks. The list includes Raka Dun’s “\u003ca href=\"https://www.youtube.com/watch?v=WbtnB57D5Lg&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">Como Yo\u003c/a>” and Raka Rich’s “Comuna 13,” which features an 18 year-old emcee named \u003ca href=\"https://www.instagram.com/el_jonky_/\" target=\"_blank\" rel=\"noopener noreferrer\">El Jonky\u003c/a>, who Rico met during a recent trip to Colombia. “I went out there on a two-week trip, and ended up staying three months,” he says.\u003c/p>\n\u003cp>Rico says he was hooked by the food and the vibes, and wasn’t looking to do any music. But after meeting El Jonky and his crew, he saw something familiar in the young artist.\u003c/p>\n\u003cp>“He was hungry. He reminded me of a lil Dun-Dun back when he was with the Black Lion Crew,” he says, referencing Raka Dun’s early days as an artist. After hearing El Jonky rap, Rico followed him on social media and eventually hit him up to stop by the studio. It was a big move for both parties—as Rico points out, studio time in the poverty-stricken community is a rarity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And in a way, after 17 years, working with El Jonky proved to be a full-circle moment. To be able to make that happen for a younger version of themselves shows Los Rakas’ status as young OGs in the game—giving back to the African diaspora, like Panama and Oakland gave to them.\u003c/p>\n\n",
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"excerpt": "Los Rakas didn't always fit with prevailing trends, but the Bay Area embraced their cultural differences. ",
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"title": "10 Years of 'Soy Raka': A Look Back With Panamanian Hip-Hop Duo Los Rakas | KQED",
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"headline": "10 Years of 'Soy Raka': A Look Back With Panamanian Hip-Hop Duo Los Rakas",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> Los Rakas banner hung above the crowd last Friday night as the Grammy-nominated duo took the stage at the New Parish. It had been two years since Raka Dun and Raka Rich last performed in Oakland, and they were ready for the hometown love.\u003c/p>\n\u003cp>The show celebrated the 10-year anniversary of the release of Los Rakas’ first project, \u003ca href=\"https://losrakas.bandcamp.com/album/chancletas-y-camisetas-bordada\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Chancletas Y Camisetas Bordada\u003c/i>\u003c/a>, which features the anthem “\u003ca href=\"https://www.youtube.com/watch?v=iHsncI2j2fk\" target=\"_blank\" rel=\"noopener noreferrer\">Soy Raka\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13902918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02432-800x535.jpg\" alt=\"Raka Rich wears a turquoise jogging suit and a hat as he performs in front of a crowd at New Parish in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas were joined onstage with performances from \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> who celebrated a birthday over the weekend; \u003ca href=\"https://www.instagram.com/cocopeila/\" target=\"_blank\" rel=\"noopener noreferrer\">Coco Peila\u003c/a>, who recently “\u003ca href=\"https://www.youtube.com/watch?v=uIx_7KJV_1Y\" target=\"_blank\" rel=\"noopener noreferrer\">Pretty Girls\u003c/a>“; and \u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, who was joined by members of the \u003ca href=\"https://www.instagram.com/putangclanofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">Pu-Tang Clan\u003c/a>.\u003c/p>\n\u003cp>There were also a bunch of folks in the crowd who’ve followed \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a> since before their debut EP. I’m one of them. After meeting Dun and Rico in 2004 through the nonprofit Youth Movement Records, I’ve followed their career, captured photos of them, and watched them grow.\u003c/p>\n\u003cp>The two hungry young creatives I met almost two decades ago, who stood out as Oakland-based Afro-Latino hip-hop artists, have grown to leverage their identity and become widely accepted and appreciated in the Bay Area and beyond. Now in their mid-30s, the hip-hop veterans are even seeing their influence on a new generation coming up.\u003c/p>\n\u003cfigure id=\"attachment_13902919\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4114-800x600.jpg\" alt=\"Raka Dun and Do D.A.T. pose for a photo during a performance at SF State (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun and Do D.A.T. pose for a photo during a performance at SF State, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Rakas’ story goes further back than the early 2000s. It starts with their family’s roots in Panama, and involves the support of the artistic community of the greater Oakland-Bay Area. Along the way, they’ve been featured on the soundtrack to \u003ca href=\"https://www.ea.com/games/fifa/news/fifa-14-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">FIFA 14\u003c/a>, appeared on the popular podcast \u003ci>Loud\u003c/i>, had multiple songs reach the top iTunes charts, \u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" rel=\"noopener noreferrer\" target=\"_blank\">performed at the White House\u003c/a>, and met Mýa on the red carpet for the Grammys—a career highlight for Rico, who watched her videos on the California Music Channel as a kid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before traveling the world and letting audiences know “Soy Raka,” they got their start in music working under the tutelage of two late Bay Area luminaries. \u003c/p>\n\u003cfigure id=\"attachment_13902920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04535-800x532.jpg\" alt=\"Raka Rich performing at the Life is Living festival in West Oakland (circa 2013). \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the Life is Living festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You remember who was the first artist who gave us a chance in the Bay Area?” Dun asks Rico during a three-way phone call a few weeks ago.\u003c/p>\n\u003cp>“The Jacka,” says Rico, citing a studio session which led to the track “\u003ca href=\"https://www.youtube.com/watch?v=3ldBrEyTn9M\" target=\"_blank\" rel=\"noopener noreferrer\">Gangsta\u003c/a>.” \u003c/p>\n\u003cp>Raka Dun says to think back a little further. “It was Zion-I.”\u003c/p>\n\u003cp>A lot of artists embraced Los Rakas in their early days, despite being somewhat of an anomaly—Black men who speak Spanish as their first language. But it was Zion-I, Dun says, who put them front and center. \u003c/p>\n\u003cp>“Every time Zion-I would perform,” says Raka Dun, “they’d throw us on the stage at the end to freestyle. A lot of people were recognizing us because of that. Zion-I, Steve, Zumbi was our first big collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13902921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC01816-800x532.jpg\" alt=\"The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for 'Human Being,' in 2012. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for ‘Human Being’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas’ first tour was with \u003ca href=\"https://www.instagram.com/thegrouch/\">The Grouch\u003c/a>, \u003ca href=\"https://www.instagram.com/brotheraliisblind/\">Brother Ali\u003c/a>, and \u003ca href=\"https://www.instagram.com/therealeligh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Eligh\u003c/a>. They soon learned that tour time wasn’t a party—it was work. And their job wasn’t just performing, it was getting to know people and selling merchandise.\u003c/p>\n\u003cp>Now, their logo is arguably more popular than their music. “Sometimes people would miss our shows because we were the opener,” says Raka Dun. “But they’d buy the merch.” \u003c/p>\n\u003cp>The duo’s logo was partially inspired by the \u003ca href=\"https://uproxx.com/music/hieroglyphics-logo-underground-hip-hop/\" rel=\"noopener noreferrer\" target=\"_blank\">Hiero logo\u003c/a>, which they saw everywhere. To develop it, they met with a guy named Daniel Walker at \u003ca href=\"http://filthydripped.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filthy Dripped\u003c/a> in Berkeley and worked through various iterations, ultimately incorporating Oakland, Panama and a little bit of Mexico. \u003c/p>\n\u003cfigure id=\"attachment_13902922\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02374-800x535.jpg\" alt=\"A fan flicks a lighter during Raka Dun's performance at the New Parish on Friday evening. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan flicks a lighter during Raka Dun’s performance at the New Parish on Sept. 10, 2021. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rico suggested adding the smile to cancel the stereotype about Rakas being from the hood and being angry,” says Dun. Just like their name reclaims the term “Raka” (short for “\u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" target=\"_blank\" rel=\"noopener noreferrer\">Rakataka\u003c/a>,” a derogatory term for someone from the ghetto), the duo wanted to work the same energy into their logo. “Just because you’re from the ghetto doesn’t mean that you’re always angry,” says Rico. \u003c/p>\n\u003cp>Inside the character’s huge smile is one tiny gold tooth that symbolizes a gigantic cultural connection. \u003c/p>\n\u003cfigure id=\"attachment_13902975\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg\" alt=\"\" width=\"160\" height=\"141\" class=\"size-thumbnail wp-image-13902975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo.jpg 700w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Los Rakas’ logo.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a Panamanian thing,” says Dun of the singular gold tooth. “My mom had one, my dad had one, Rico’s mom… Rico’s dad had eight!” he says with a laugh, before Rico picks up where Dun left off. “My grandpa had one, my grandma had one, my great grandmother had two, like Turk, from Cash Money.”\u003c/p>\n\u003cp>When the duo met Tupac’s brother, Mopreme Shakur, he told them that he got his singular gold tooth in Panama. As West Coast American rap fans from the Latin American country, their minds were blown. \u003c/p>\n\u003cp>Reflecting life in the Bay Area during the early years of the 21st century, the group added glasses without the lenses as a nod to Mac Dre. And the final addition: a hat with the ear flaps. \u003c/p>\n\u003cp>“We chose that because it was this Mexican program called \u003ca href=\"https://www.imdb.com/title/tt0229889/\" target=\"_blank\" rel=\"noopener noreferrer\">El Chavo Del Ocho\u003c/a>,” says Rico, noting how the main character would don similar headwear. “So when I came out here to the states and I saw those hats, I’d cop them every time.” When Rico and Dun went back to Panama to promote their single “Mi Barrio,” everyone asked him about the hat, so it was looped in the image of Los Rakas.\u003c/p>\n\u003cfigure id=\"attachment_13902923\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4115-800x600.jpg\" alt=\"Raka Rich (center in the grey hoodie) stands with a number of young artists outside of East Oakland's Youth Uprising (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich (at center, in the grey hoodie) stands with a number of young artists outside of East Oakland’s Youth Uprising, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n many ways the logo speaks to Los Rakas’ balanced identity while beating the pavement and hitting stages with bilingual lyrics about both politics and partying—and performing in front of crowds who largely only speak English. \u003c/p>\n\u003cp>On a recent episode of \u003ca href=\"https://www.kqed.org/forum/2010101885060/loud-podcast-highlights-the-history-of-reggaeton\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum\u003c/a>, the duo discussed the popularity of reggaeton and its origins rooted in the children of Jamaican laborers working on the Panama Canal. They also mentioned that English speaking crowds in the states take to their music despite the language barrier, with the prevailing sentiment being “I don’t know what they’re saying, but it sounds good.” \u003c/p>\n\u003cp>Rico tells me that he’s proud of that. After all, he and Dun, blood cousins born in Panama who moved to the states separately during their adolescence, grew up listening to all kinds of music in languages they didn’t speak, too.\u003c/p>\n\u003cfigure id=\"attachment_13902924\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg\" alt=\"The Los Rakas medallion sits on Raka Duns white shirt as he performs at the Life Is Living Festival in West Oakland circa 2013)\" width=\"160\" height=\"249\" class=\"size-thumbnail wp-image-13902924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-800x1247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1020x1590.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-768x1197.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-986x1536.jpg 986w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1314x2048.jpg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389.jpg 1388w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun performs at the Life Is Living Festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they started on this musical journey, Rico says Oakland’s hip-hop community wasn’t feeling Spanish music. Raka Dun says they had to adapt, especially because they were working with the likes of The Jacka, J. Stalin, and Zumbi from Zion-I.\u003c/p>\n\u003cp>Plus, being in the Bay, they weren’t getting too many reggaeton beats; this, again, was in the thick of the Hyphy era. “We had to hop on whatever we could hop on,” says Rico. “That’s how we became \u003ci>Los Rakas\u003c/i>.” The combination of Panamanian influence and Bay Area energy made them unique. And it resonated with people. \u003c/p>\n\u003cp>“We’d have people that’d come up to us, rap the whole verse, and be like, ‘I don’t even speak Spanish. I’m learning Spanish through your music,’” says Rico.\u003c/p>\n\u003cp>A few weeks ago the group got \u003ca href=\"https://twitter.com/LosRakas/status/1423347834133237762/photo/1\">a message\u003c/a> from a fan who said he used to watch YouTube videos of them as a kid. Over a decade later he was rejoicing in the fact that they’re still rocking. \u003c/p>\n\u003cp>“The tweet, it makes me feel good, man,” says Dun. “That’s what we do it for. That’s the type of message that keeps us motivated. This dude saying that we changed his life, he’s giving us the flowers. We do this first of all because we love it. And then it’s for the people, we want to make sure we give the people good music just like our favorite artists gave us timeless music. And sometimes this shit gets hard. We’re artists who don’t have the numbers, we got the respect, we’ve influenced lots of artists, but we don’t have millions of streams on our music, so stuff like that keeps us really motivated. We’re getting to the people.” \u003c/p>\n\u003cp>Rico adds that they see the success of similar music today, and they know they played a significant part in pioneering the sound that’s popular right now. “To see how far it’s gotten, it’s bittersweet,” says Rico, thinking about how the pioneers of rap aren’t living how they should be living, given what they’ve done for the culture. “We been out here for 16 years. Grinding.”\u003c/p>\n\u003cp>And the grind doesn’t stop. Now it’s time to cultivate the next generation. \u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=VxXSOxEV49s\">https://www.youtube.com/watch?v=VxXSOxEV49s\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the time since their 2019 album, \u003cem>\u003ca href=\"https://soundcloud.com/losrakas/sets/manes-de-negocio-1\" target=\"_blank\" rel=\"noopener noreferrer\">Manes De Negocio\u003c/a>, \u003c/em>the duo have released a series of solo tracks. The list includes Raka Dun’s “\u003ca href=\"https://www.youtube.com/watch?v=WbtnB57D5Lg&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">Como Yo\u003c/a>” and Raka Rich’s “Comuna 13,” which features an 18 year-old emcee named \u003ca href=\"https://www.instagram.com/el_jonky_/\" target=\"_blank\" rel=\"noopener noreferrer\">El Jonky\u003c/a>, who Rico met during a recent trip to Colombia. “I went out there on a two-week trip, and ended up staying three months,” he says.\u003c/p>\n\u003cp>Rico says he was hooked by the food and the vibes, and wasn’t looking to do any music. But after meeting El Jonky and his crew, he saw something familiar in the young artist.\u003c/p>\n\u003cp>“He was hungry. He reminded me of a lil Dun-Dun back when he was with the Black Lion Crew,” he says, referencing Raka Dun’s early days as an artist. After hearing El Jonky rap, Rico followed him on social media and eventually hit him up to stop by the studio. It was a big move for both parties—as Rico points out, studio time in the poverty-stricken community is a rarity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in a way, after 17 years, working with El Jonky proved to be a full-circle moment. To be able to make that happen for a younger version of themselves shows Los Rakas’ status as young OGs in the game—giving back to the African diaspora, like Panama and Oakland gave to them.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Moments From the MTV VMAs",
"headTitle": "The Best Moments From the MTV VMAs | KQED",
"content": "\u003cp>MTV’s Video Music Awards returned to the stage after 2020’s \u003ca href=\"https://www.npr.org/2020/08/31/907789356/the-vmas-10-takeaways-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">socially distanced show\u003c/a>. The show also marked the network’s milestone 40th year.\u003c/p>\n\u003cp>It was a big night for Olivia Rodrigo, Justin Bieber and Lil Nas X, among others. Here are some of the memorable moments and “Moon person” winners.\u003c/p>\n\u003ch3>Standout performances and memorable moments\u003c/h3>\n\u003cp>The night saw performances from Justin Bieber, Camila Cabello, Chlöe, Lil Nas X, Machine Gun Kelly, Kacey Musgraves, Ed Sheeran, Alicia Keys, Busta Rhymes, Olivia Rodrigo, Shawn Mendes, Twenty One Pilots and others. \u003ca href=\"https://www.mtv.com/vma/performers\" target=\"_blank\" rel=\"noopener noreferrer\">Watch those videos here\u003c/a>.\u003c/p>\n\u003cp>Some stars were making their VMA debuts with brand-new songs. \u003ca href=\"http://www.mtv.com/news/3180883/kacey-musgraves-star-crossed-vmas-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Musgraves performed “Star-Crossed,”\u003c/a> the title track off her recently released studio album, while Chlöe (who you may know as half of the sister R&B duo Chlöe x Halle) \u003ca href=\"http://www.mtv.com/news/3181152/chloe-2021-vma-have-mercy/\" target=\"_blank\" rel=\"noopener noreferrer\">performed her debut solo single “Have Mercy”\u003c/a> onstage for the first time.\u003c/p>\n\u003cp>https://twitter.com/MTVNEWS/status/1437227865301475334\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other veterans returned to the stage: Brooklyn legend \u003ca href=\"https://www.mtv.com/news/3181168/busta-rhymes-vma-medley/\" target=\"_blank\" rel=\"noopener noreferrer\">Busta Rhymes performed a medley\u003c/a> of some of his biggest hits, while \u003ca href=\"https://www.mtv.com/news/3180807/alicia-keys-swae-lee-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">Alicia Keys honored\u003c/a> the anniversary of 9/11 by finishing her performance with a piano version of “Empire State of Mind.”\u003c/p>\n\u003cp>Some other notable moments, as collected by MTV: Olivia Rodrigo \u003ca href=\"https://www.mtv.com/news/3181066/olivia-rodrigo-vmas-good-4-u/\" target=\"_blank\" rel=\"noopener noreferrer\">descended onstage from a cloud\u003c/a> (Good 4 Her, honestly), Doja Cat \u003ca href=\"https://www.mtv.com/news/3180914/doja-cat-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">danced midair\u003c/a> after being introduced by fellow gravity defier Simone Biles (and later accepted an award dressed as a worm) and the Foo Fighters received the VMAs’ \u003ca href=\"http://www.mtv.com/news/3180017/foo-fighters-vma-global-icon-award/\" target=\"_blank\" rel=\"noopener noreferrer\">first-ever Global Icon Award\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/MTVNEWS/status/1437236596991041546?s=20\u003c/p>\n\u003cp>See \u003cem>USA Today\u003c/em>‘s \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2021/09/12/vmas-2021-performance-reviews-ranked/8307348002/\" target=\"_blank\" rel=\"noopener noreferrer\">ranking of the performances\u003c/a>.\u003c/p>\n\u003ch3>A star-studded roster of nominees and winners\u003c/h3>\n\u003cp>Justin Bieber led with seven nominations, followed by Megan Thee Stallion (who got six but went home empty-handed). Billie Eilish, BTS, Doja Cat, Drake, Lil Nas X, Olivia Rodrigo and Giveon each got five nominations.\u003c/p>\n\u003cp>Lil Nas X won the top prize for video of the year with “Montero (Call Me By Your Name),” then began \u003ca href=\"https://twitter.com/vmas/status/1437254299390816257?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">his acceptance speech\u003c/a> by thanking “the gay agenda.” That video also won for best direction and best visual effects.\u003c/p>\n\u003cp>https://twitter.com/untrell92/status/1437219090133921792\u003c/p>\n\u003cp>Justin Bieber won the award for artist of the year and shared “best pop” with Daniel Caesar and Giveon for “Peaches.”\u003c/p>\n\u003cp>Olivia Rodrigo’s “Drivers License” won song of the year and best push performance of the year. She also took home the award for best new artist.\u003c/p>\n\u003cp>https://twitter.com/MTV/status/1437244845748326404\u003c/p>\n\u003cp>\u003ca href=\"http://www.mtv.com/news/3180634/vma-winners-list-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s the full list\u003c/a>.\u003c/p>\n\u003ch3>A milestone birthday\u003c/h3>\n\u003cp>The awards show paid tribute to MTV’s history from start to finish.\u003c/p>\n\u003cp>It opened with a surprise appearance from Madonna, \u003ca href=\"http://www.mtv.com/news/3180876/madonna-opens-2021-vmas/\" target=\"_blank\" rel=\"noopener noreferrer\">a VMA legend\u003c/a> with 20 moon person awards to her name.\u003c/p>\n\u003cp>https://twitter.com/kathygriffin/status/1437225962530164736\u003c/p>\n\u003cp>The queen of pop celebrated her decades-long relationship with MTV—and New York City—\u003ca href=\"https://www.today.com/popculture/madonna-makes-surprise-appearance-vmas-celebrate-mtv-s-40th-anniversary-t230760\" target=\"_blank\" rel=\"noopener noreferrer\">in a video sequence\u003c/a> that showed her in the back of a taxi, in Times Square and eventually live onstage at Brooklyn’s Barclays Center, surrounded by screens projecting some of her iconic music videos (and dropping her trench coat to reveal a \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a37566779/twitter-madonna-butt-2021-vmas/\" target=\"_blank\" rel=\"noopener noreferrer\">cheeky leather outfit\u003c/a>).\u003c/p>\n\u003cp>[aside postid='arts_13897634']“Forty years ago, another underdog arrived in New York City, hoping to create something revolutionary. An all-music channel premiered in the middle of the night and called itself MTV,” Madonna said. “We found each other and formed a bond that changed my life, changed music and created a whole new art form. That’s why there’s only one place to be tonight.”\u003c/p>\n\u003cp>Cyndi Lauper, who won a moon person at the first-ever VMAs in 1984, reminded viewers of how much has changed since then. \u003ca href=\"https://www.etonline.com/cyndi-lauper-speaks-out-for-womens-rights-at-2021-mtv-vmas-171922\" target=\"_blank\" rel=\"noopener noreferrer\">In brief remarks before presenting an award\u003c/a>, she tied her hit song to the fight for women’s rights.\u003c/p>\n\u003cp>“Yeah, girls still wanna have fun,” Lauper said as the crowd roared. “But we also want to have funds. Equal pay. Control over our bodies! You know, fundamental rights.”\u003c/p>\n\u003cp>https://twitter.com/liamgareau/status/1437218572174983172\u003c/p>\n\u003cp>The evening ended with another nod to the past. The Buggles’ “Video Killed The Radio Star,” the \u003ca href=\"https://www.npr.org/sections/world-cafe/2021/07/30/1021813462/the-first-100-videos-played-on-mtv\" target=\"_blank\" rel=\"noopener noreferrer\">very first video to air on MTV\u003c/a> in 1981, played over the closing credits.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/california-wildfire-recall-election-biden#highlights-from-the-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+Moments+From+The+MTV+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>MTV’s Video Music Awards returned to the stage after 2020’s \u003ca href=\"https://www.npr.org/2020/08/31/907789356/the-vmas-10-takeaways-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">socially distanced show\u003c/a>. The show also marked the network’s milestone 40th year.\u003c/p>\n\u003cp>It was a big night for Olivia Rodrigo, Justin Bieber and Lil Nas X, among others. Here are some of the memorable moments and “Moon person” winners.\u003c/p>\n\u003ch3>Standout performances and memorable moments\u003c/h3>\n\u003cp>The night saw performances from Justin Bieber, Camila Cabello, Chlöe, Lil Nas X, Machine Gun Kelly, Kacey Musgraves, Ed Sheeran, Alicia Keys, Busta Rhymes, Olivia Rodrigo, Shawn Mendes, Twenty One Pilots and others. \u003ca href=\"https://www.mtv.com/vma/performers\" target=\"_blank\" rel=\"noopener noreferrer\">Watch those videos here\u003c/a>.\u003c/p>\n\u003cp>Some stars were making their VMA debuts with brand-new songs. \u003ca href=\"http://www.mtv.com/news/3180883/kacey-musgraves-star-crossed-vmas-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Musgraves performed “Star-Crossed,”\u003c/a> the title track off her recently released studio album, while Chlöe (who you may know as half of the sister R&B duo Chlöe x Halle) \u003ca href=\"http://www.mtv.com/news/3181152/chloe-2021-vma-have-mercy/\" target=\"_blank\" rel=\"noopener noreferrer\">performed her debut solo single “Have Mercy”\u003c/a> onstage for the first time.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other veterans returned to the stage: Brooklyn legend \u003ca href=\"https://www.mtv.com/news/3181168/busta-rhymes-vma-medley/\" target=\"_blank\" rel=\"noopener noreferrer\">Busta Rhymes performed a medley\u003c/a> of some of his biggest hits, while \u003ca href=\"https://www.mtv.com/news/3180807/alicia-keys-swae-lee-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">Alicia Keys honored\u003c/a> the anniversary of 9/11 by finishing her performance with a piano version of “Empire State of Mind.”\u003c/p>\n\u003cp>Some other notable moments, as collected by MTV: Olivia Rodrigo \u003ca href=\"https://www.mtv.com/news/3181066/olivia-rodrigo-vmas-good-4-u/\" target=\"_blank\" rel=\"noopener noreferrer\">descended onstage from a cloud\u003c/a> (Good 4 Her, honestly), Doja Cat \u003ca href=\"https://www.mtv.com/news/3180914/doja-cat-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">danced midair\u003c/a> after being introduced by fellow gravity defier Simone Biles (and later accepted an award dressed as a worm) and the Foo Fighters received the VMAs’ \u003ca href=\"http://www.mtv.com/news/3180017/foo-fighters-vma-global-icon-award/\" target=\"_blank\" rel=\"noopener noreferrer\">first-ever Global Icon Award\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>See \u003cem>USA Today\u003c/em>‘s \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2021/09/12/vmas-2021-performance-reviews-ranked/8307348002/\" target=\"_blank\" rel=\"noopener noreferrer\">ranking of the performances\u003c/a>.\u003c/p>\n\u003ch3>A star-studded roster of nominees and winners\u003c/h3>\n\u003cp>Justin Bieber led with seven nominations, followed by Megan Thee Stallion (who got six but went home empty-handed). Billie Eilish, BTS, Doja Cat, Drake, Lil Nas X, Olivia Rodrigo and Giveon each got five nominations.\u003c/p>\n\u003cp>Lil Nas X won the top prize for video of the year with “Montero (Call Me By Your Name),” then began \u003ca href=\"https://twitter.com/vmas/status/1437254299390816257?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">his acceptance speech\u003c/a> by thanking “the gay agenda.” That video also won for best direction and best visual effects.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Justin Bieber won the award for artist of the year and shared “best pop” with Daniel Caesar and Giveon for “Peaches.”\u003c/p>\n\u003cp>Olivia Rodrigo’s “Drivers License” won song of the year and best push performance of the year. She also took home the award for best new artist.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"http://www.mtv.com/news/3180634/vma-winners-list-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s the full list\u003c/a>.\u003c/p>\n\u003ch3>A milestone birthday\u003c/h3>\n\u003cp>The awards show paid tribute to MTV’s history from start to finish.\u003c/p>\n\u003cp>It opened with a surprise appearance from Madonna, \u003ca href=\"http://www.mtv.com/news/3180876/madonna-opens-2021-vmas/\" target=\"_blank\" rel=\"noopener noreferrer\">a VMA legend\u003c/a> with 20 moon person awards to her name.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The queen of pop celebrated her decades-long relationship with MTV—and New York City—\u003ca href=\"https://www.today.com/popculture/madonna-makes-surprise-appearance-vmas-celebrate-mtv-s-40th-anniversary-t230760\" target=\"_blank\" rel=\"noopener noreferrer\">in a video sequence\u003c/a> that showed her in the back of a taxi, in Times Square and eventually live onstage at Brooklyn’s Barclays Center, surrounded by screens projecting some of her iconic music videos (and dropping her trench coat to reveal a \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a37566779/twitter-madonna-butt-2021-vmas/\" target=\"_blank\" rel=\"noopener noreferrer\">cheeky leather outfit\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Forty years ago, another underdog arrived in New York City, hoping to create something revolutionary. An all-music channel premiered in the middle of the night and called itself MTV,” Madonna said. “We found each other and formed a bond that changed my life, changed music and created a whole new art form. That’s why there’s only one place to be tonight.”\u003c/p>\n\u003cp>Cyndi Lauper, who won a moon person at the first-ever VMAs in 1984, reminded viewers of how much has changed since then. \u003ca href=\"https://www.etonline.com/cyndi-lauper-speaks-out-for-womens-rights-at-2021-mtv-vmas-171922\" target=\"_blank\" rel=\"noopener noreferrer\">In brief remarks before presenting an award\u003c/a>, she tied her hit song to the fight for women’s rights.\u003c/p>\n\u003cp>“Yeah, girls still wanna have fun,” Lauper said as the crowd roared. “But we also want to have funds. Equal pay. Control over our bodies! You know, fundamental rights.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The evening ended with another nod to the past. The Buggles’ “Video Killed The Radio Star,” the \u003ca href=\"https://www.npr.org/sections/world-cafe/2021/07/30/1021813462/the-first-100-videos-played-on-mtv\" target=\"_blank\" rel=\"noopener noreferrer\">very first video to air on MTV\u003c/a> in 1981, played over the closing credits.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/california-wildfire-recall-election-biden#highlights-from-the-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+Moments+From+The+MTV+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Britney Spears' Father Has Filed a Petition to End Her Conservatorship",
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"content": "\u003cp>Britney Spears’ father filed Tuesday to end the court conservatorship that has controlled the singer’s life and money for 13 years.\u003c/p>\n\u003cp>James Spears filed his petition to terminate the conservatorship in Los Angeles Superior Court.\u003c/p>\n\u003cp>“As Mr. Spears has said again and again, all he wants is what is best for his daughter,” the document says. “If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cp>Judge Brenda Penny, who oversees the case, will need to approve the move.\u003c/p>\n\u003cp>There was no immediate reply to an email seeking comment from Britney Spears’ attorney.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>James Spears had been the target of much of the anger surrounding the conservatorship from both his daughter and the public.\u003c/p>\n\u003cp>A petition from Britney Spears’ attorney to remove him was to be heard at the next hearing in the case on Sept. 29.\u003c/p>\n\u003cp>[aside postid='arts_13899317']James Spears said in a filing on Aug. 12 that he was planning to step down as the conservator of her finances, but offered no timetable. He gave up his control over her life decisions in 2019, keeping only his role overseeing her money.\u003c/p>\n\u003cp>He has repeatedly said there is no justification for his removal, and he has acted only in his daughter’s best interest.\u003c/p>\n\u003cp>The conservatorship was established in 2008 when Britney Spears began to have very public mental struggles as media outlets obsessed over each moment, hordes of paparazzi aggressively followed her everywhere, and she lost custody of her children.\u003c/p>\n\u003cp>Tuesday’s filing cites how Britney Spears’ “impassioned plea” to end the legal arrangement in a June 23 speech in court gave a jolt to those who wanted to see her freed from it, quoting from the transcript of that afternoon.\u003c/p>\n\u003cp>“I just want my life back,” Britney Spears said. “And it’s been 13 years and it’s enough. It’s been a long time since I’ve owned my money. And it’s my wish and my dream for all of this to end without being tested.”\u003c/p>\n\u003cp>Tuesday’s filing notes that Spears said she did not know she could file a petition to end the conservatorship, which she has yet to do. It says that Penny’s decision to allow her to hire her own attorney, Mathew Rosengart, demonstrates that the court trusts her with major choices. And it says evidence shows she has apparently “demonstrated a level of independence” by doing things like driving herself around Southern California.\u003c/p>\n\u003cp>It also cites her desire to make her own decisions on therapy and other medical care.\u003c/p>\n\u003cp>Spears had said in her June 23 speech that she was being compelled under the conservatorship to take certain medications and to use an intrauterine device for birth control against her will.\u003c/p>\n\u003cp>[aside postid='arts_13875370']James Spears called for a court investigation of these and other allegations, saying they were issues that were beyond his control because he had stepped down as conservator of his daughter’s person, handing the role off to court-appointed professional Jodi Montgomery.\u003c/p>\n\u003cp>Rosengart, Britney Spears’ new attorney, said when he was hired in July that he intended to help end the conservatorship, and questioned whether it needed to be established in the first place, though he had not yet filed to terminate it.\u003c/p>\n\u003cp>He said instead that his first priority was getting rid of James Spears, whom he challenged to resign on the spot in his first appearance before the court.\u003c/p>\n\u003cp>Rosengart filed for James Spears’ removal on July 26, alleging he had mismanaged his daughter’s money and affairs, and suggesting he had used the conservatorship for his own gain. The judge denied him an emergency hearing on the matter, saying it could be heard in due course in September.\u003c/p>\n\u003cp>The lawyer said he welcomed James Spears’ indication that he would eventually step down, but said that wouldn’t slow his efforts to remove him.\u003c/p>\n\u003cp>Spears gave the conservatorship’s initial existence credit for keeping her career afloat, though she has now put her work entirely on hold for more than two years.\u003c/p>\n\u003cp>Fans objecting to her circumstances and seeing what they believed were pleas for help in the pop star’s Instagram posts began calling online to #FreeBritney, and began appearing outside her court hearings to protest.\u003c/p>\n\u003cp>Famous names from Miley Cyrus to Britney Spears’ ex Justin Timberlake have joined the outcry in recent months, especially after Spears’ pair of passionate speeches to the court in June and July.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Penny, the judge with the ultimate power over the conservatorship, has not appeared inclined to end it before, but she has also never been presented with such a clear opportunity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Britney+Spears%27+Father+Has+Filed+A+Petition+To+End+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britney Spears’ father filed Tuesday to end the court conservatorship that has controlled the singer’s life and money for 13 years.\u003c/p>\n\u003cp>James Spears filed his petition to terminate the conservatorship in Los Angeles Superior Court.\u003c/p>\n\u003cp>“As Mr. Spears has said again and again, all he wants is what is best for his daughter,” the document says. “If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cp>Judge Brenda Penny, who oversees the case, will need to approve the move.\u003c/p>\n\u003cp>There was no immediate reply to an email seeking comment from Britney Spears’ attorney.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>James Spears said in a filing on Aug. 12 that he was planning to step down as the conservator of her finances, but offered no timetable. He gave up his control over her life decisions in 2019, keeping only his role overseeing her money.\u003c/p>\n\u003cp>He has repeatedly said there is no justification for his removal, and he has acted only in his daughter’s best interest.\u003c/p>\n\u003cp>The conservatorship was established in 2008 when Britney Spears began to have very public mental struggles as media outlets obsessed over each moment, hordes of paparazzi aggressively followed her everywhere, and she lost custody of her children.\u003c/p>\n\u003cp>Tuesday’s filing cites how Britney Spears’ “impassioned plea” to end the legal arrangement in a June 23 speech in court gave a jolt to those who wanted to see her freed from it, quoting from the transcript of that afternoon.\u003c/p>\n\u003cp>“I just want my life back,” Britney Spears said. “And it’s been 13 years and it’s enough. It’s been a long time since I’ve owned my money. And it’s my wish and my dream for all of this to end without being tested.”\u003c/p>\n\u003cp>Tuesday’s filing notes that Spears said she did not know she could file a petition to end the conservatorship, which she has yet to do. It says that Penny’s decision to allow her to hire her own attorney, Mathew Rosengart, demonstrates that the court trusts her with major choices. And it says evidence shows she has apparently “demonstrated a level of independence” by doing things like driving herself around Southern California.\u003c/p>\n\u003cp>It also cites her desire to make her own decisions on therapy and other medical care.\u003c/p>\n\u003cp>Spears had said in her June 23 speech that she was being compelled under the conservatorship to take certain medications and to use an intrauterine device for birth control against her will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>James Spears called for a court investigation of these and other allegations, saying they were issues that were beyond his control because he had stepped down as conservator of his daughter’s person, handing the role off to court-appointed professional Jodi Montgomery.\u003c/p>\n\u003cp>Rosengart, Britney Spears’ new attorney, said when he was hired in July that he intended to help end the conservatorship, and questioned whether it needed to be established in the first place, though he had not yet filed to terminate it.\u003c/p>\n\u003cp>He said instead that his first priority was getting rid of James Spears, whom he challenged to resign on the spot in his first appearance before the court.\u003c/p>\n\u003cp>Rosengart filed for James Spears’ removal on July 26, alleging he had mismanaged his daughter’s money and affairs, and suggesting he had used the conservatorship for his own gain. The judge denied him an emergency hearing on the matter, saying it could be heard in due course in September.\u003c/p>\n\u003cp>The lawyer said he welcomed James Spears’ indication that he would eventually step down, but said that wouldn’t slow his efforts to remove him.\u003c/p>\n\u003cp>Spears gave the conservatorship’s initial existence credit for keeping her career afloat, though she has now put her work entirely on hold for more than two years.\u003c/p>\n\u003cp>Fans objecting to her circumstances and seeing what they believed were pleas for help in the pop star’s Instagram posts began calling online to #FreeBritney, and began appearing outside her court hearings to protest.\u003c/p>\n\u003cp>Famous names from Miley Cyrus to Britney Spears’ ex Justin Timberlake have joined the outcry in recent months, especially after Spears’ pair of passionate speeches to the court in June and July.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Penny, the judge with the ultimate power over the conservatorship, has not appeared inclined to end it before, but she has also never been presented with such a clear opportunity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Britney+Spears%27+Father+Has+Filed+A+Petition+To+End+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5483078115\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most popular music festivals in Oakland, Hiero Day, will look a little different this year. Instead of the one-day blowout we all know and love, it’ll be a series \u003ca href=\"https://twitter.com/RapNoir/status/1432357915608829953?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">smaller events throughout the weekend\u003c/a>. But the elements that matter will still be present: Space and culture.\u003c/p>\n\u003cp>“We made a place where all of our influences: all the people we’ve influenced, all the homies and people who have influenced us… everybody can come together and celebrate,” says Tajai Massey (aka \u003ca href=\"https://www.instagram.com/rapnoir/\" target=\"_blank\" rel=\"noopener noreferrer\">Rap Noir)\u003c/a> of the Hieroglyphic Crew.\u003c/p>\n\u003cp>Tajai sees Hiero Day as a physical manifestation of the Souls of Mischief’s most famous song, “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">93 Til Infiinty\u003c/a>,” where he and the other emcees give listeners a taste of life in Oakland and how we chill.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fXJc2NYwHjw\u003c/p>\n\u003cp>These days, it’s hard to ignore Oakland’s growing wealth disparities, the massive unsheltered population, and continued gentrification.\u003c/p>\n\u003cp>“A lot of folks I see during Hiero Day, they’ve had to move away, to Stockton, Sac, L.A… anywhere that’s cheaper than here. But we see them on Hiero Day, so it’s like a big family reunion,” says Tajai.\u003c/p>\n\u003cp>Another unfortunate change in the Bay Area: fewer affordable art spaces.\u003c/p>\n\u003cp>“Space is extremely important for [all the arts] to be able to flourish and grow… It becomes very important for you to have a place, not just the time, but a place to actually be creative.”\u003c/p>\n\u003cp>As a young emcee, Tajai remembers recording studios all over the East Bay, including The Onion Lab in Berkeley where an hour of time would cost just five dollars. “That is a direct progenitor of us being able to be in the industry, to have a demo for the world to hear.”\u003c/p>\n\u003cp>Space and culture mean a lot to Tajai, not just as a rapper, but as an architectural designer.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n“I know how to build spaces. I know how to generate money. I know how to help people through my music, et cetera. How can I make those three things converge in a way that makes life easier for the people that I see suffering around me? And that’s kind of the crossroads that I’m at now.”\u003c/span>\u003c/p>\n\u003cp>This week on Rightnowish, we talk to Tajai about the intersection of culture and the built environment, and the importance of having access to space in order to share, celebrate and create culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cp>\u003cem>The PIVOT Festival gets underway Wednesday–Saturday, Oct. 20-23, at the Herbst Theatre in San Francisco. \u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Jazz and Classical Concerts to See in the Bay Area This Fall",
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"content": "\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n",
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"excerpt": "Innovation and diversity are the drivers of this season's jazz and classical performances.",
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"title": "Jazz and Classical Concerts to See in the Bay Area This Fall | KQED",
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"headline": "Jazz and Classical Concerts to See in the Bay Area This Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is usually \u003cem>the\u003c/em> time for classical and jazz events. After all the big outdoor summer festivals are over, audiences start to wear layers again, new seasons are announced, and we all gather inside dark theaters for communal experiences as the leaves turn to brown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>And then there’s 2021, when nothing is so predictable. Still, at least for the time being, the fall slate is full of diversity, innovation and inspiration in its classical and jazz performances.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Reminder\u003c/strong>: COVID precautions remain in flux. Proof of vaccination is a requirement for many indoor events. Before making plans, and again before arrival, be sure to check event websites for the latest protocols.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13902398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sfoperaballpark19_stefancohen073.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Opera at the Ballpark. \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfopera.com/ballpark\" target=\"_blank\" rel=\"noopener noreferrer\">Opera at the Ballpark\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 10\u003cbr>\nOracle Park, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you move in sports circles, Opera at the Ballpark is the perfect way to trick a friend into liking opera. You lure them with promises of walking on the same baseball field where Giants like Brandon Crawford, Buster Posey and Johnny Cueto play, you buy ’em a beer, and then watch as they lay in the grass, transformed by the singing of Jamie Barton and Rachel Willis-Sørensen. That’s the idea, anyway: to make opera accessible to the public while a performance at the War Memorial Opera House is simulcast on the large scoreboard screen above the outfield. On top of it all? Admission is free. Ultimately, if your friend is successfully won over, there’s also San Francisco Opera’s upcoming runs of Beethoven’s \u003cem>Fidelio\u003c/em> (Oct. 14–30) and Mozart’s \u003cem>Cosí fan tutte\u003c/em> (Nov. 21–Dec. 3) to cement the obsession.\u003c/p>\n\u003cfigure id=\"attachment_13902405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Billy-Hart-Photo-by-Desmond-White.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Hart. \u003ccite>(Desmond White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://the222.org/billy-hart/\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Hart Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 11–12\u003cbr>\nThe 222, Healdsburg\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Roy Haynes and Jack DeJohnette, Billy Hart is a jazz treasure whose time behind the drum kit spans generations. A master of rhythm and touch in a live setting, Hart proves himself adept at all styles as an empathetic listener and tremendously creative soloist. Now 80 and with no sign of slowing down, Hart appears here in a quartet with tenor saxophonist Dayna Stephens, bassist Peter Barshay and pianist Ethan Iverson, the estimable former leader of The Bad Plus. The setting is a new, intimate art gallery venue booked by former Healdsburg Jazz Festival artistic director Jessica Felix.\u003c/p>\n\u003cfigure id=\"attachment_13902404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg\" alt=\"\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee-1536x867.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/EOIVC-2020-Julian-Rhee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Rhee. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/203\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Rosa Symphony, ‘Elgar & Mozart’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Green Music Center, Rohnert Park\u003cbr>\nOct. 2–4\u003c/em>\u003c/p>\n\u003cp>The first time back in front of an audience has proven to be a connecting emotional experience for performers this year. For members of the Santa Rosa Symphony’s orchestra, that moment will be soundtracked by American composer Libby Larsen’s \u003cem>Deep Summer Music\u003c/em>, an appropriately blissful evocation of rebirth. Also sharing the program with Elgar’s \u003cem>Enigma Variations\u003c/em> and Mozart’s Violin Concerto No. 5 (performed by the young soloist Julian Rhee) is \u003cem>Rust\u003c/em>, by the boundary-breaking Berkeley-raised composer Gabriella Smith. \u003cem>Rust\u003c/em>‘s score at times demands total freedom of its players, underscoring the adventurous spirit of Santa Rosa Symphony’s Francesco Lecce-Chong, an exciting young conductor whose easy rapport with audiences makes even the most challenging pieces inviting.\u003c/p>\n\u003cfigure id=\"attachment_13902399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/s9_hero_kassaoverall.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kassa Overall. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/kassa-overall/\" target=\"_blank\" rel=\"noopener noreferrer\">Kassa Overall\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>New sounds have burbled in jazz for several years now, with the joyful noise created by artists like Shabaka Hutchings and Kamasi Washington on one end of the spectrum, and the subdued, skittering electronic influence of Makaya McCraven and Kamaal Williams on the other. The latter field includes the Brooklyn-based drummer, rapper and producer Kassa Overall, whose range is matched only by his depth. Political and cultural themes abound in Overall’s music (along with a sense of humor; a 2019 album is cheekily titled \u003cem>Go Get Ice Cream and Listen to Jazz\u003c/em>). His live shows contain multitudes.\u003c/p>\n\u003cfigure id=\"attachment_13902401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GabrielaOrtiz.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriela Ortiz. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysiliconvalley.org/show/celebration/\" target=\"_blank\" rel=\"noopener noreferrer\">Silicon Valley Symphony, ‘Celebration!’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 2-3\u003cbr>\nCalifornia Theater, San Jose\u003c/em>\u003c/p>\n\u003cp>The Silicon Valley Symphony kicks off its season with two favorites: Dvorak’s New World Symphony and Mendelssohn’s \u003cem>A Midsummer Night’s Dream Overture\u003c/em> and \u003cem>Scherzo\u003c/em>. What makes the program special is a world premiere by the Mexican composer Gabriela Ortiz, whose work stretches back 30 years. \u003cem>D’Colonial Californio\u003c/em> is a concerto for flute and orchestra, performed here by soloist Marisa Canales and under the direction of JoAnn Falletta. Inspired by the Peninsula’s main route El Camino Real—part of \u003ca href=\"https://www.kqed.org/news/11621122/el-camino-not-so-real-the-true-story-of-the-ancient-road\" rel=\"noopener noreferrer\" target=\"_blank\">a fraught, revisionist history\u003c/a>—the piece promises to bring contemplation among the celebration at the California Theater.\u003c/p>\n\u003cfigure id=\"attachment_13902402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RaviColtrane.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ravi Coltrane. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/ravi-coltrane-cosmic-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane, ‘The Music of John and Alice Coltrane’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>SFJAZZ Center, San Francisco\u003cbr>\nNov. 4–7\u003c/em>\u003c/p>\n\u003cp>Since he first picked up a saxophone, the inventive musician Ravi Coltrane has dutifully fulfilled constant requests to perform the music of his famous father, John Coltrane. These past few years, though, one thing has changed: he’s now asked to also perform compositions from his mother, Alice Coltrane, the deeply spiritual harpist, pianist and singer whose music has recently undergone a widespread and welcome cultural reappraisal. Over four nights (and a Sunday matinee), Coltrane mines his ancestry in ways he’s never done before, exploring solo and collaborative work by both parents.\u003c/p>\n\u003cfigure id=\"attachment_13902406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902406\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DemarreMcGill.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Demarre McGill \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" target=\"_blank\" rel=\"noopener noreferrer\">MTT: Mozart, Tilson Thomas and Schumann\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003cbr>\nNov. 12–14\u003c/em>\u003c/p>\n\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020. Along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cfigure id=\"attachment_13902400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/bria-skonberg-1920x900-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bria Skonberg. \u003ccite>(Artist Photo.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/bria-skonberg-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Bria Skonberg\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Zellerbach Hall, Berkeley\u003cbr>\nOct. 9\u003c/em>\u003c/p>\n\u003cp>As the story goes, Canadian trumpeter Bria Skonberg arrived in New York City a decade ago and immediately went to jam with friends in the park when, strolling by, Wynton Marsalis stopped to listen and give a thumbs up of approval. New York’s performing arts sector has since embraced the supple-toned horn player and singer, although her playing style owes more to New Orleans than Harlem. With an ability to take popular jazz standards into literal pop territory, Skonberg is a natural crowd pleaser.\u003c/p>\n\u003cfigure id=\"attachment_13902417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Lyra-800x480.jpg\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Lyra.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lyra.’ \u003ccite>(San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2122/Pivot.html\" target=\"_blank\" rel=\"noopener noreferrer\">PIVOT Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 20-23\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dedicated to innovations in chamber music, SF Performances’ PIVOT series regularly showcases the type of compositions you only thought were possible. In October, that includes performances by Theo Bleckmann, Missy Mazzoli, Jennifer Koh, Brooklyn Rider and Nicolas Phan. A highlight is \u003cem>Lyra\u003c/em>, a collaboration between the Living Earth Ballet and Post:ballet that blends film, choreography and dance, and draws inspiration from the myth of Orpheus and Eurydice.\u003c/p>\n\u003cfigure id=\"attachment_13902403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902403\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/sept18-19spyrogyra-copy.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spyro Gyra. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/spyro-gyra-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">GRP Takeover: Spyro Gyra,\u003c/a> \u003ca href=\"https://yoshis.com/events/buy-tickets/lee-ritenour-w-dave-grusin-2/detail\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Grusin and Lee Ritenour\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 16–19\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a time in the 1980s, some of the most commercially successful jazz was released on GRP Records, an outfit specializing in then-new digital recording techniques that matched the popular synthesized sounds of the time: electric keyboards, modified electric guitars and even electrified saxophones. For a week at Yoshi’s, then comes roaring back into the now with some of GRP’s biggest sellers. While the smooth fusion of progressive jazz outfit Spyro Gyra (Sept. 18 and 19) has yet to come back into hipster vogue, guitar aficionados will no doubt flock to Lee Ritenour’s unusual fret skills when he appears with his longtime collaborator, the film-scoring saxophonist Dave Grusin (Sept. 16 and 17).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"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. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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