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"content": "\u003cp>The average musical biopic—and most of them are pretty average—follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it’s disappointing to see great artists reduced to formulas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> was one of our greatest artists, and \u003cem>Respect\u003c/em>, the new movie about her early years, doesn’t entirely avoid those biopic conventions. But there’s real intelligence and feeling in it all the same.\u003c/p>\n\u003cp>[aside postid='arts_13867229']This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qTtxoz3OIlU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>[aside postid='arts_13858541']That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The average musical biopic—and most of them are pretty average—follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it’s disappointing to see great artists reduced to formulas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> was one of our greatest artists, and \u003cem>Respect\u003c/em>, the new movie about her early years, doesn’t entirely avoid those biopic conventions. But there’s real intelligence and feeling in it all the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qTtxoz3OIlU'\n title='//www.youtube.com/embed/qTtxoz3OIlU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Jose Jazz Summer Fest returns smaller and safer this weekend, Aug. 13–15, after pulling the plug on last year’s event due to the pandemic.\u003c/p>\n\u003cp>The long-running jazz festival has shrunk its physical scope if not its musical one, reducing 2019’s 14 stages to six, three of them outdoors and three indoors.\u003c/p>\n\u003cp>The diverse range of headliners on the main stage at Plaza de César Chávez includes Prince protégé Judith Hill, Oakland-born soul singer Goapele, and Chicago rap legend Common, whose appearance reflects the festival’s increasing embrace of hip-hop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2AChGszRGwI\u003c/p>\n\u003cp>Among the notable smaller venues is the Montgomery Theater, which will host two tribute performances: one for Doug Carn and another for Chick Corea. The work of organist Carn has experienced a revival thanks to his foundational contribution to the freshly popular 1970s spiritual jazz movement. Carn himself demonstrates his mastery of the jazz organ this weekend while jamming with a cast of Bay Area luminaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13886749']Jazz fusion pioneer Corea passed away in March. San Jose Jazz’s in-house band the SJZ Collective will play a selection of Corea’s works in celebration of the 23-time Grammy Award winner’s long and eventful career.\u003c/p>\n\u003cp>Around the corner and a few blocks away from festival grounds is the Latin Tropical stage, formerly known as the Salsa stage, access to which will be free to the public. Notable performers include Bay Area Cuban music classicists Septeto Los Amigos, the all-female salsa band Las Chikas and timba specialists Rumbankete.\u003c/p>\n\u003cp>In light of the spread of the Delta variant of the coronavirus, the festival is taking several precautions including mask requirements for all indoor venues, proof of vaccination or negative COVID test for entry and limited seating for indoor concerts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San Jose Jazz Summer Fest runs Aug. 13–15. \u003ca href=\"https://summerfest.sanjosejazz.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>\u003cstrong>Update (Aug. 12, 2021, 10:32 pm PT):\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Britney Spears’ father said in a court filing Thursday that he is planning to step down from the conservatorship that has controlled her life and money for 13 years, but his departure is not imminent.\u003c/em>\u003c/p>\n\u003cp>\u003cem>James Spears filed legal documents saying he will step down after several lingering issues are resolved. The document gives no timetable for his resignation from his role helping oversee his daughter’s finances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Those matters include the next judicial review of the pop singer’s finances, which has been delayed by months of public and legal wrangling over James Spears’ role and the legitimacy of the conservatorship.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Britney Spears’ father agreed Thursday to step down from the conservatorship that has controlled her life and money for 13 years, according to reports.\u003c/p>\n\u003cp>[aside postid='arts_13899436']Several outlets including celebrity website TMZ and CNN reported that James Spears filed legal documents saying that while there are no grounds for his removal, he will step down. The decision comes after months of public and legal wrangling by his daughter and, in recent weeks, her new attorney.\u003c/p>\n\u003cp>The documents say that he is “the unremitting target of unjustified attacks” but “he does not believe that a public battle with his daughter over his continuing service as her conservator would be in her best interests.”\u003c/p>\n\u003cp>The filing says James Spears will fight the petition to force him out, but will work with the court and Britney Spears’ attorney Matthew Rosengart to “prepare for an orderly transition to a new conservator.”\u003c/p>\n\u003cp>“We are pleased that Mr. Spears and his lawyer have today conceded in a filing that he must be removed,” Rosengart said in a statement. “It is vindication for Britney.”\u003c/p>\n\u003cp>For most of the existence of the conservatorship, which was established in 2008, James Spears oversaw his daughter’s personal affairs and money. In 2019, he stepped down as the so-called conservator of her person, and maintained control of her finances.\u003c/p>\n\u003cp>[aside postid='arts_13899317']He was nevertheless the target of much of his daughter’s ire in a pair of speeches before the court in June and July, in which she called the conservatorship “abusive.” Spears in her June remarks said she had been required to use an intrauterine device for birth control, take medications against her will and prevented from getting married, having another child or even riding in her boyfriend’s car unsupervised.\u003c/p>\n\u003cp>“This conservatorship is doing me way more harm than good,” the 39-year-old Spears said at the time. “I deserve to have a life.”\u003c/p>\n\u003cp>James Spears was fighting to remain in control in court filings as recently as last week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was nevertheless the target of much of his daughter’s ire in a pair of speeches before the court in June and July, in which she called the conservatorship “abusive.” Spears in her June remarks said she had been required to use an intrauterine device for birth control, take medications against her will and prevented from getting married, having another child or even riding in her boyfriend’s car unsupervised.\u003c/p>\n\u003cp>“This conservatorship is doing me way more harm than good,” the 39-year-old Spears said at the time. “I deserve to have a life.”\u003c/p>\n\u003cp>James Spears was fighting to remain in control in court filings as recently as last week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, the Chicago composer Angel Bat Dawid began recording pieces of music using her phone’s built-in memo function. Those home recordings, featuring her multitracked voice, keyboards and clarinet, became \u003cem>The Oracle\u003c/em>, an album almost frightening in its intimacy. The atmosphere picked up by the small microphone on Dawid’s phone gave the album a lo-fi yet close personal ambiance, as if eavesdropping on someone’s private moments. \u003c/p>\n\u003cp>[aside hero='https://media.npr.org/assets/img/2021/04/05/photo-by-rhizomes-films-6-9daf387924c35e86e4ab1f32b90e5faa338cb99d-s800-c85.webp' link1='https://www.npr.org/2021/04/05/984421378/play-it-forward-angel-bat-dawid-knows-how-to-deliver-emotion-through-song,NPR: Angel Bat Dawid Knows How To Deliver Emotion Through Song' target=\"_blank\"]Dawid returned the next year with a live recording featuring her band, The Brotherhood, and the tone is demonstrably different; it opens with a loud exploration of Sun Ra’s “Enlightenment,” with horns and drums on full blast. And yet the album’s most mesmerizing moments remain two slow, intimate songs from \u003cem>The Oracle\u003c/em>, both pedal-point evocations of Blackness: “\u003ca href=\"https://www.youtube.com/watch?v=tfOCJy0ZthU\" rel=\"noopener noreferrer\" target=\"_blank\">What Shall I Tell My Children Who Are Black\u003c/a>” and the afrofuturist mantra “\u003ca href=\"https://www.youtube.com/watch?v=XlzdrPkbNbw\" rel=\"noopener noreferrer\" target=\"_blank\">We Are Starzz\u003c/a>.” \u003c/p>\n\u003cp>At Saturday’s show in San Francisco, Dawid performs solo, bringing along material from her recent \u003cem>Hush Harbor Mixtape Vol. 1 Doxology\u003c/em>, a series of songs dedicated to Escrava Anastacia, the enslaved African woman venerated as a saint in Brazil. It’s a rare chance to see a star of Chicago’s new jazz avant-garde on the West Coast, and it’s sure to be unforgettable. \u003c/p>\n\u003cp>\u003cem>Angel Bat Dawid performs Saturday, Aug. 14, at the Lab in San Francisco. \u003ca href=\"https://www.thelab.org/projects/2021/8/14/angel-bat-dawid\" 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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.destroydestroyboys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destroy Boys\u003c/a> released “\u003ca href=\"https://www.youtube.com/watch?v=o_jFJDMTWFc\" target=\"_blank\" rel=\"noopener noreferrer\">Drink\u003c/a>“—a single that seamlessly combined sparkling guitar pop with an undercurrent of impending doom. The track was about the struggle of breaking alcoholic cycles, but its incumbent anxiety was the perfect soundtrack for anyone suffering from reopening jitters.\u003c/p>\n\u003cp>The trio—vocalist/guitarist Alexia Roditis, guitarist Violet Mayugba and drummer Narsai Malik—has been excellent at reading the zeitgeist and reflecting it right back, ever since they came together in Sacramento back in 2015. And these three college-aged kids—now based in Oakland and San Francisco—have never been shy about venting. That much has been apparent since their 2017 debut album, \u003cem>Sorry Mom\u003c/em>. (Check out “\u003ca href=\"https://www.youtube.com/watch?v=TbngYdFIxTc\" target=\"_blank\" rel=\"noopener noreferrer\">I Threw Glass at My Friend’s Eyes and Now I’m on Probation\u003c/a>” for evidence. The song, about dealing with romantic attention from an older man, was written when Roditis was still in high school.)\u003c/p>\n\u003cp>Now, Destroy Boys is back with their second single in less than two months. “Locker Room Bully” is a defiant, riot grrrl-inspired, proverbial middle finger that offers a swift takedown to petty-minded interlopers. The accompanying video takes the song’s themes about social media toxicity and transforms them into a literal witch hunt, unfolding against a gloomy San Francisco backdrop.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DgXuGzWPgOM'\n title='//www.youtube.com/embed/DgXuGzWPgOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The single is another taste of what’s to come from Destroy Boys’ third album, \u003ca href=\"https://hopelessrecords.myshopify.com/collections/destroy-boys/products/deboohomgb-lp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Open Mouth, Open Heart\u003c/em>\u003c/a>—out on Oct. 8, via \u003ca href=\"https://www.hopelessrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hopeless Records\u003c/a>. The band is \u003ca href=\"https://www.destroydestroyboys.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">touring\u003c/a> across the US throughout August and September.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jury Selection Starts in R. Kelly Sex Trafficking Case",
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"content": "\u003cp>After several delays, the first phase of the sex trafficking trial of R&B hitmaker R. Kelly started Monday with jury selection in New York City.\u003c/p>\n\u003cp>Lingering health threats caused by the coronavirus pandemic and a shakeup of Kelly’s defense team pushed the trial into the summer, nearly two years after he was charged with abusing women and girls for nearly two decades.\u003c/p>\n\u003cp>U.S. District Judge Ann Donnelly began questioning potential jurors about whether they can keep an open mind about Kelly two years after he was charged with abusing women and girls for nearly two decades. She reminded them the defendant was presumed innocent and that they should not be influenced by anything they’ve previously heard about the case.\u003c/p>\n\u003cp>The proceeding was being conducted amid coronavirus pandemic precautions restricting the press and the public to overflow courtrooms with video feeds. Much of the time, Kelly and potential jurors weren’t clearly visible on the feeds and the audio was often faint.\u003c/p>\n\u003cp>More screening was set for Tuesday. It was unclear how long the process will take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelly, 54, has been locked up since he was indicted, mostly housed in a federal jail in Chicago. He was moved last month to the federal Metropolitan Detention Center in Brooklyn to face trial in a case that’s further diminished his superstar status.\u003c/p>\n\u003cp>[aside postid='pop_109568']Last week, defense attorney Deveraux Cannick told a judge that Kelly needs to be measured for new clothing because he’s \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-music-health-arts-and-entertainment-4dc99d75b79a8739100f6cb45769aa3b\" target=\"_blank\" rel=\"noopener noreferrer\">gained so much weight\u003c/a> in jail. And he asked that court transcripts be provided at no cost because Kelly has been unable to work for two years, saying: “His funds are depleted.”\u003c/p>\n\u003cp>The Grammy-winning, multiplatinum-selling singer has denied any wrongdoing and pleaded not guilty to charges accusing him of leading an enterprise of managers, bodyguards and other employees who helped him recruit women and girls for sex. Federal prosecutors say the group selected victims at concerts and other venues and arranged for them to travel to see Kelly.\u003c/p>\n\u003cp>Defense lawyers have said Kelly’s alleged victims were groupies who turned up at his shows and made it known they “were dying to be with him.” They only started accusing him of abuse years later when public sentiment shifted in the #MeToo era, they said.\u003c/p>\n\u003cp>The trial had been expected to start earlier in the year. But opening statements were moved to Aug. 18 after Kelly fired his original defense team.\u003c/p>\n\u003cp>Jurors are expected to hear testimony from several of his accusers. A judge has ruled that the women will only be referred to by their first names.\u003c/p>\n\u003cp>Prosecutors also are expected to offer evidence that Kelly schemed with others to pay for a fake ID for Aaliyah, a singer on the rise at 15 years old, in a secret ceremony in 1994.\u003c/p>\n\u003cp>Aaliyah is identified as “Jane Doe #1” in court papers because she was still a minor when Kelly began a sexual relationship with her and believed she had become pregnant, the papers say.\u003c/p>\n\u003cp>[aside postid='pop_109968']“As a result, in an effort to shield himself from criminal charges related to his illegal sexual relationship with Jane Doe #1, Kelly arranged to secretly marry her to prevent her from being compelled to testify against him in the future,” the papers say.\u003c/p>\n\u003cp>Aaliyah, whose full name was Aaliyah Dana Haughton, worked with Kelly, who wrote and produced her 1994 debut album, “\u003ca href=\"https://www.kqed.org/pop/86198/the-most-creepily-problematic-sexy-songs-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">Age Ain’t Nothing But a Number.\u003c/a>” She died in a plane crash in 2001 at age 22.\u003c/p>\n\u003cp>The case is only part of the legal peril facing the singer, born Robert Sylvester Kelly. He also has pleaded not guilty to sex-related charges in Illinois and Minnesota.\u003c/p>\n\u003cp>Kelly won multiple Grammys for “I Believe I Can Fly,” a 1996 song that became an inspirational anthem played at school graduations, weddings, advertisements and elsewhere.\u003c/p>\n\u003cp>Nearly a decade later, he began releasing what eventually became 22 musical chapters of “Trapped in the Closet,” a drama that spins a tale of sexual deceit and became a cult classic.\u003c/p>\n\u003cp>But Kelly has been trailed for decades by \u003ca href=\"https://www.kqed.org/pop/109631/i-want-justice-r-kelly-accused-of-sexual-misconduct-by-2-more-women\" target=\"_blank\" rel=\"noopener noreferrer\">complaints\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/109968/on-cbs-an-indicted-r-kelly-literally-screams-his-innocence\" target=\"_blank\" rel=\"noopener noreferrer\">allegations\u003c/a> about his sexual behavior, including a 2002 child pornography case in Chicago. He was acquitted in that case in 2008.\u003c/p>\n\u003cp>Scrutiny intensified again amid the #MeToo movement in recent years, with multiple women going public with accusations against the singer. The pressure intensified with the release of the Lifetime documentary \u003cem>\u003ca href=\"https://www.kqed.org/pop/108417/lady-gaga-needs-to-talk-about-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">Surviving R. Kelly\u003c/a>\u003c/em> in 2019.\u003c/p>\n\u003cp>Criminal charges soon followed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After several delays, the first phase of the sex trafficking trial of R&B hitmaker R. Kelly started Monday with jury selection in New York City.\u003c/p>\n\u003cp>Lingering health threats caused by the coronavirus pandemic and a shakeup of Kelly’s defense team pushed the trial into the summer, nearly two years after he was charged with abusing women and girls for nearly two decades.\u003c/p>\n\u003cp>U.S. District Judge Ann Donnelly began questioning potential jurors about whether they can keep an open mind about Kelly two years after he was charged with abusing women and girls for nearly two decades. She reminded them the defendant was presumed innocent and that they should not be influenced by anything they’ve previously heard about the case.\u003c/p>\n\u003cp>The proceeding was being conducted amid coronavirus pandemic precautions restricting the press and the public to overflow courtrooms with video feeds. Much of the time, Kelly and potential jurors weren’t clearly visible on the feeds and the audio was often faint.\u003c/p>\n\u003cp>More screening was set for Tuesday. It was unclear how long the process will take.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelly, 54, has been locked up since he was indicted, mostly housed in a federal jail in Chicago. He was moved last month to the federal Metropolitan Detention Center in Brooklyn to face trial in a case that’s further diminished his superstar status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last week, defense attorney Deveraux Cannick told a judge that Kelly needs to be measured for new clothing because he’s \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-music-health-arts-and-entertainment-4dc99d75b79a8739100f6cb45769aa3b\" target=\"_blank\" rel=\"noopener noreferrer\">gained so much weight\u003c/a> in jail. And he asked that court transcripts be provided at no cost because Kelly has been unable to work for two years, saying: “His funds are depleted.”\u003c/p>\n\u003cp>The Grammy-winning, multiplatinum-selling singer has denied any wrongdoing and pleaded not guilty to charges accusing him of leading an enterprise of managers, bodyguards and other employees who helped him recruit women and girls for sex. Federal prosecutors say the group selected victims at concerts and other venues and arranged for them to travel to see Kelly.\u003c/p>\n\u003cp>Defense lawyers have said Kelly’s alleged victims were groupies who turned up at his shows and made it known they “were dying to be with him.” They only started accusing him of abuse years later when public sentiment shifted in the #MeToo era, they said.\u003c/p>\n\u003cp>The trial had been expected to start earlier in the year. But opening statements were moved to Aug. 18 after Kelly fired his original defense team.\u003c/p>\n\u003cp>Jurors are expected to hear testimony from several of his accusers. A judge has ruled that the women will only be referred to by their first names.\u003c/p>\n\u003cp>Prosecutors also are expected to offer evidence that Kelly schemed with others to pay for a fake ID for Aaliyah, a singer on the rise at 15 years old, in a secret ceremony in 1994.\u003c/p>\n\u003cp>Aaliyah is identified as “Jane Doe #1” in court papers because she was still a minor when Kelly began a sexual relationship with her and believed she had become pregnant, the papers say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As a result, in an effort to shield himself from criminal charges related to his illegal sexual relationship with Jane Doe #1, Kelly arranged to secretly marry her to prevent her from being compelled to testify against him in the future,” the papers say.\u003c/p>\n\u003cp>Aaliyah, whose full name was Aaliyah Dana Haughton, worked with Kelly, who wrote and produced her 1994 debut album, “\u003ca href=\"https://www.kqed.org/pop/86198/the-most-creepily-problematic-sexy-songs-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">Age Ain’t Nothing But a Number.\u003c/a>” She died in a plane crash in 2001 at age 22.\u003c/p>\n\u003cp>The case is only part of the legal peril facing the singer, born Robert Sylvester Kelly. He also has pleaded not guilty to sex-related charges in Illinois and Minnesota.\u003c/p>\n\u003cp>Kelly won multiple Grammys for “I Believe I Can Fly,” a 1996 song that became an inspirational anthem played at school graduations, weddings, advertisements and elsewhere.\u003c/p>\n\u003cp>Nearly a decade later, he began releasing what eventually became 22 musical chapters of “Trapped in the Closet,” a drama that spins a tale of sexual deceit and became a cult classic.\u003c/p>\n\u003cp>But Kelly has been trailed for decades by \u003ca href=\"https://www.kqed.org/pop/109631/i-want-justice-r-kelly-accused-of-sexual-misconduct-by-2-more-women\" target=\"_blank\" rel=\"noopener noreferrer\">complaints\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/109968/on-cbs-an-indicted-r-kelly-literally-screams-his-innocence\" target=\"_blank\" rel=\"noopener noreferrer\">allegations\u003c/a> about his sexual behavior, including a 2002 child pornography case in Chicago. He was acquitted in that case in 2008.\u003c/p>\n\u003cp>Scrutiny intensified again amid the #MeToo movement in recent years, with multiple women going public with accusations against the singer. The pressure intensified with the release of the Lifetime documentary \u003cem>\u003ca href=\"https://www.kqed.org/pop/108417/lady-gaga-needs-to-talk-about-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">Surviving R. Kelly\u003c/a>\u003c/em> in 2019.\u003c/p>\n\u003cp>Criminal charges soon followed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How a Composer Puts a Horse's Movements to Music For the Tokyo Olympics",
"headTitle": "How a Composer Puts a Horse’s Movements to Music For the Tokyo Olympics | KQED",
"content": "\u003cp>TOKYO — In equestrian dressage, horses maneuver through complicated, dance-like choreography. The animals pirouette, step high, extend their legs long, and side step to music, signaled by an expert rider.\u003c/p>\n\u003cp>Olympic teams are turning to special composers to put together music tailored to highlight the best qualities of the horse and the routine.\u003c/p>\n\u003cp>“The music side of it really brought our sport to life,” said Winnie Murphy, a spokesperson for British Equestrian. That’s particularly true for spectators who aren’t already attuned to the highly technical aspects of equestrian.\u003c/p>\n\u003cp>The Grand Prix Freestyle event, where riders can choose their own music and moves rather than go through a pre-set test, is the blockbuster event of Olympic dressage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8V5RVZa-cbo\u003c/p>\n\u003ch3>Horses move to electronic music, disco and classical\u003c/h3>\n\u003cp>On a hot night last week, a huge range of tunes blasted through the nearly empty arena.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>U.S. rider Steffen Peters rode Suppenkasper, nicknamed Mopsi, to a bumping electronic mix. That earned him the nickname “rave horse.” Germany’s Isabell Werth looked to the majesty of Beethoven’s Ode to Joy for her performance.\u003c/p>\n\u003cp>Norway’s Carina Cassoe Kruth went for an 80s medley including “I Want To Know What Love Is” by Foreigner and “Footloose” by Kenny Loggins.\u003c/p>\n\u003cp>Kruth said she wanted to bring out her girly and fun qualities of her horse, nicknamed “Dancer,” and get the judges to tap their toes to the beat. “It’s fun to ride, and yeah, I’m actually singing a bit along in my head when I ride it.”\u003c/p>\n\u003cp>The U.K.’s Carl Hester rode his horse, En Vogue, to groovy disco music that channeled the Bee Gees.\u003c/p>\n\u003cp>“That’s a funky beat,” Hester said of the composition. “He’s got such a good rhythm himself”\u003c/p>\n\u003cp>“I didn’t want any background stuff. I wanted a beat that I could really ride to because he’s so powerful,” he added. “I loved all of that music, actually. I thought it was really, really suited to him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-7eyINuPD8\u003c/p>\n\u003ch3>A composer matches a horse’s routine and personality to music\u003c/h3>\n\u003cp>Tom Hunt, who composes the music for the U.K. team, is in charge of making sure the tunes suit the horses. He wrote that funky beat that Hester rode to.\u003c/p>\n\u003cp>Hunt said that years ago, music used to be more of an afterthought in dressage. “In some cases that I used to listen to, the music would just stop and something else would kick in.”\u003c/p>\n\u003cp>Now, it’s highly customized and carefully thought out.\u003c/p>\n\u003cp>The riders figure out what moves they’ll do—and then Hunt will put together a composition to fit.\u003c/p>\n\u003cp>[aside postid='arts_13900276']“The music is orchestrated and produced specifically to the transitions that the horse is doing and the tempos that the horse has,” he said. “Every horse has highlights that the rider wants to show off, and you can use the music to really enforce that. So if you have a really good extended trot, you want the extended trot music to really kick in and emphasize what’s going on.”\u003c/p>\n\u003cp>There are also things he tries to avoid—like putting really powerful music with a small, delicate horse. “It would overpower the movement of the horse,” he explained.\u003c/p>\n\u003cp>The music is especially important because it goes into a rider’s artistic score at the freestyle event.\u003c/p>\n\u003cp>Besides Hester, Hunt composed for U.K. riders Charlotte Fry (upbeat, and inspired by tropical dance music) and Charlotte Dujardin (orchestral, fun and emotive). Dujardin took the bronze medal in individual dressage in Tokyo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2V87VPzgQg\u003c/p>\n\u003ch3>The range of acceptable music is expanding\u003c/h3>\n\u003cp>Hunt said that dressage riders have traditionally gravitated to classical and orchestral music—but that’s changing.\u003c/p>\n\u003cp>“I think there’s no question that the music that was probably preferred or considered to be dressage music has definitely evolved in the last 10, 11 years,” Hunt said. “We’re doing tropical house music and disco and all these different styles of music.”\u003c/p>\n\u003cp>Music is also becoming more tailored in other dressage competitions. For the \u003ca href=\"https://inside.fei.org/system/files/EQUESTRIAN%20MEDIA%20TOOL%20KIT_TOKYO2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">first time\u003c/a> at the Olympics, riders could also choose their own music during the Grand Prix Special, where all athletes go through the same movements.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Riders want to push the limits of what is accepted in their sport, Hunt said—and “the sport has had to adapt to modern times.”\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=How+A+Composer+Puts+A+Horse%27s+Movements+To+Music+For+The+Tokyo+Olympics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TOKYO — In equestrian dressage, horses maneuver through complicated, dance-like choreography. The animals pirouette, step high, extend their legs long, and side step to music, signaled by an expert rider.\u003c/p>\n\u003cp>Olympic teams are turning to special composers to put together music tailored to highlight the best qualities of the horse and the routine.\u003c/p>\n\u003cp>“The music side of it really brought our sport to life,” said Winnie Murphy, a spokesperson for British Equestrian. That’s particularly true for spectators who aren’t already attuned to the highly technical aspects of equestrian.\u003c/p>\n\u003cp>The Grand Prix Freestyle event, where riders can choose their own music and moves rather than go through a pre-set test, is the blockbuster event of Olympic dressage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8V5RVZa-cbo'\n title='//www.youtube.com/embed/8V5RVZa-cbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Horses move to electronic music, disco and classical\u003c/h3>\n\u003cp>On a hot night last week, a huge range of tunes blasted through the nearly empty arena.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>U.S. rider Steffen Peters rode Suppenkasper, nicknamed Mopsi, to a bumping electronic mix. That earned him the nickname “rave horse.” Germany’s Isabell Werth looked to the majesty of Beethoven’s Ode to Joy for her performance.\u003c/p>\n\u003cp>Norway’s Carina Cassoe Kruth went for an 80s medley including “I Want To Know What Love Is” by Foreigner and “Footloose” by Kenny Loggins.\u003c/p>\n\u003cp>Kruth said she wanted to bring out her girly and fun qualities of her horse, nicknamed “Dancer,” and get the judges to tap their toes to the beat. “It’s fun to ride, and yeah, I’m actually singing a bit along in my head when I ride it.”\u003c/p>\n\u003cp>The U.K.’s Carl Hester rode his horse, En Vogue, to groovy disco music that channeled the Bee Gees.\u003c/p>\n\u003cp>“That’s a funky beat,” Hester said of the composition. “He’s got such a good rhythm himself”\u003c/p>\n\u003cp>“I didn’t want any background stuff. I wanted a beat that I could really ride to because he’s so powerful,” he added. “I loved all of that music, actually. I thought it was really, really suited to him.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K-7eyINuPD8'\n title='//www.youtube.com/embed/K-7eyINuPD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A composer matches a horse’s routine and personality to music\u003c/h3>\n\u003cp>Tom Hunt, who composes the music for the U.K. team, is in charge of making sure the tunes suit the horses. He wrote that funky beat that Hester rode to.\u003c/p>\n\u003cp>Hunt said that years ago, music used to be more of an afterthought in dressage. “In some cases that I used to listen to, the music would just stop and something else would kick in.”\u003c/p>\n\u003cp>Now, it’s highly customized and carefully thought out.\u003c/p>\n\u003cp>The riders figure out what moves they’ll do—and then Hunt will put together a composition to fit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The music is orchestrated and produced specifically to the transitions that the horse is doing and the tempos that the horse has,” he said. “Every horse has highlights that the rider wants to show off, and you can use the music to really enforce that. So if you have a really good extended trot, you want the extended trot music to really kick in and emphasize what’s going on.”\u003c/p>\n\u003cp>There are also things he tries to avoid—like putting really powerful music with a small, delicate horse. “It would overpower the movement of the horse,” he explained.\u003c/p>\n\u003cp>The music is especially important because it goes into a rider’s artistic score at the freestyle event.\u003c/p>\n\u003cp>Besides Hester, Hunt composed for U.K. riders Charlotte Fry (upbeat, and inspired by tropical dance music) and Charlotte Dujardin (orchestral, fun and emotive). Dujardin took the bronze medal in individual dressage in Tokyo.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k2V87VPzgQg'\n title='//www.youtube.com/embed/k2V87VPzgQg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The range of acceptable music is expanding\u003c/h3>\n\u003cp>Hunt said that dressage riders have traditionally gravitated to classical and orchestral music—but that’s changing.\u003c/p>\n\u003cp>“I think there’s no question that the music that was probably preferred or considered to be dressage music has definitely evolved in the last 10, 11 years,” Hunt said. “We’re doing tropical house music and disco and all these different styles of music.”\u003c/p>\n\u003cp>Music is also becoming more tailored in other dressage competitions. For the \u003ca href=\"https://inside.fei.org/system/files/EQUESTRIAN%20MEDIA%20TOOL%20KIT_TOKYO2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">first time\u003c/a> at the Olympics, riders could also choose their own music during the Grand Prix Special, where all athletes go through the same movements.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Riders want to push the limits of what is accepted in their sport, Hunt said—and “the sport has had to adapt to modern times.”\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=How+A+Composer+Puts+A+Horse%27s+Movements+To+Music+For+The+Tokyo+Olympics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "To Save Live Music, We Need to Get Vaccinated",
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"content": "\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\n\u003cp>https://www.instagram.com/p/CSE_rkVnIgL/\u003c/p>\n\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By Wednesday, Parada’s post had been liked almost 18,000 times, and prompted comments of love, support and vaccine-related outrage. One fan wrote, “The fear, the manipulation and coercion around [vaccines] are truly what is frightening.” Five Finger Death Punch drummer Charlie Engen commented that it was “sickening you even have to explain yourself.” Bad Wolves vocalist Tommy Vext called Parada’s predicament “a fucking disgrace,” and opined that “this all feels like the beginnings of a medical apartheid.”\u003c/p>\n\u003cp>Those are strong words in a live-music landscape that is still accommodating unvaccinated people. Parada’s announcement (and the outpouring that it prompted) directly followed a weekend in which 100,000 fans a day—including the unvaccinated—descended on the Lollapalooza festival in Chicago. Ticket holders without vaccines were permitted at the event with proof of a negative COVID test.\u003c/p>\n\u003cp>https://twitter.com/lollapalooza/status/1420865743269339143\u003c/p>\n\u003cp>The weekend before, Miami’s Rolling Loud Festival attracted daily crowds of 75,000 and had zero COVID-related restrictions for entry. “Fans will have the choice, whether or not they want to be vaccinated or mask,” festival co-founder \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/miami-gardens/article252927603.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tariq Cheriff told the \u003cem>Miami Herald\u003c/em>\u003c/a>. “That’s basically what we believe in. You got the choice and that’s it.”\u003c/p>\n\u003cp>[aside postID='arts_13900368,arts_13900770']While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Despite multiple apologies, rapper \u003ca href=\"https://www.npr.org/artists/735842489/dababy\" target=\"_blank\" rel=\"noopener noreferrer\">DaBaby\u003c/a> continues to face criticism—and cancellations—for homophobic comments he made during the Rolling Loud festival in late July.\u003c/p>\n\u003cp>Dua Lipa, who features the rapper on her mega-hit song “\u003ca href=\"https://www.youtube.com/watch?v=TUVcZfQe-Kw\" target=\"_blank\" rel=\"noopener noreferrer\">Levitating\u003c/a>,” was among those who \u003ca href=\"https://variety.com/2021/music/news/dua-lipa-dababy-homophobic-remarks-1235028796/\" target=\"_blank\" rel=\"noopener noreferrer\">quickly criticized\u003c/a> him. \u003ca href=\"https://www.cnn.com/2021/07/30/entertainment/dababy-elton-madonna-backlash-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Elton John and Madonna\u003c/a> also lambasted DaBaby and railed against misinformation in his comments about HIV.\u003c/p>\n\u003cp>During the Miami performance, he \u003ca href=\"https://www.capitalxtra.com/news/what-did-dababy-say-homophobic-speech-rant-rolling-loud-festival-miami-video/\" target=\"_blank\" rel=\"noopener noreferrer\">had told\u003c/a> the audience: “If you didn’t show up today with HIV, AIDS, any of them deadly sexually transmitted diseases that’ll make you die in two or three weeks, put your cellphone light in the air.”\u003c/p>\n\u003cp>Music festivals including Lollapalooza, The Governors Ball and \u003ca href=\"https://twitter.com/aclfestival/status/1422573740311863300?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Austin City Limits Music Festival\u003c/a> canceled his appearances, and he lost a sponsorship deal with the clothing brand BooHoo.\u003c/p>\n\u003cp>DaBaby has grown into a \u003ca href=\"https://www.washingtonpost.com/entertainment/music/fresh-off-snl-performance-dababy-brought-his-hits--and-sketches--to-dc/2019/12/09/24e27f86-1a9c-11ea-977a-15a6710ed6da_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">critical\u003c/a> and commercial superstar in recent years, reigning over a powerful audience with his millions of followers on social media. He has won BET Awards and been nominated for Grammys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The swift fallout from his remarks could signify a change in attitudes toward what the music business will tolerate when it comes to explicitly offensive and exclusionary language from some of its biggest stars.\u003c/p>\n\u003cp>“I think there’s definitely a new moment,” says Brown University professor \u003ca href=\"http://www.triciarose.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tricia Rose\u003c/a> who has written two books on hip-hop.\u003c/p>\n\u003ch3>DaBaby has been accused of bad behavior before\u003c/h3>\n\u003cp>While Rose believes the festivals are doing the right thing by removing DaBaby from their rosters, she also sees more than a hint of hypocrisy in the organizers’ actions. She notes that the music industry has long tolerated and profited from artists like DaBaby, who has been \u003ca href=\"https://apnews.com/article/hip-hop-and-rap-arrests-us-news-dababy-eddf29e3456162fefbfb6b099f467c68\" target=\"_blank\" rel=\"noopener noreferrer\">accused\u003c/a> of bad behavior before this incident.\u003c/p>\n\u003cp>At the same Rolling Loud festival, for example, he followed \u003ca href=\"https://www.npr.org/artists/728754756/megan-thee-stallion\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Thee Stallion\u003c/a>‘s performance by bringing rapper Tory Lanez on stage, who \u003ca href=\"https://www.npr.org/2020/10/08/921902926/rapper-tory-lanez-charged-in-megan-thee-stallion-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Stallion alleges shot her in the foot\u003c/a> last year.\u003c/p>\n\u003cp>[aside postid='arts_13859570']“There’s many artists who are promoted by the industry, who are celebrated by the industry because of their, quote, unquote, edgy extreme behavior. That is a longstanding pattern that has not abated in any way,” Rose says. “Then when they step out of line about when and how they actually live into that identity, then there’s all this sort of ‘We’re all about peace, love and happiness.’ ”\u003c/p>\n\u003cp>Since the uproar, DaBaby has tried to be about peace and understanding in his efforts to counter the fallout. In his second \u003ca href=\"https://www.instagram.com/p/CSFMMBbpc3F/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a>, he wrote, “Social media moves so fast that people want to demolish you before you have a chance to grow, educate and learn from your mistakes.”\u003c/p>\n\u003ch3>Apologizing is one step; making amends is another\u003c/h3>\n\u003cp>\u003ca href=\"http://www.kevinpowell.net/about.php\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Powell\u003c/a>, who’s written extensively about hip-hop and toxic masculinity in American culture, says the language in DaBaby’s apology is important.\u003c/p>\n\u003cp>“I believe in counsel culture, not cancel culture,” says Powell. “Do we just want to keep canceling people out because of their racism, their sexism and homophobia, transphobia? Or do we actually want to educate people so we become a more educated populace so this does not become a normalized thing?”\u003c/p>\n\u003cp>Powell hopes DaBaby will do a lot more than just apologize for his behavior to protect his career.\u003c/p>\n\u003cp>“He has to be serious. No matter who you are you have to be serious about making amends. You have to become an advocate for women and girls. You have to become an advocate against homophobia and transphobia. You have to make amends by your actions or your deeds. It can’t just be an apology just because you’re trying to save your career,” Powell adds.\u003c/p>\n\u003cp>The uproar underscores how cultural attitudes about sexuality in pop music are changing. Right now, the openly gay rapper \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> has two hit songs and was \u003ca href=\"https://www.nytimes.com/2021/07/07/magazine/lil-nas-x.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently profiled\u003c/a> in \u003cem>The New York Times Magazine\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both Powell and Tricia Rose believe his success signals progress, but they also say the work toward a more inclusive music industry is far from over.\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+Music+Industry+Is+Holding+DaBaby+Accountable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite multiple apologies, rapper \u003ca href=\"https://www.npr.org/artists/735842489/dababy\" target=\"_blank\" rel=\"noopener noreferrer\">DaBaby\u003c/a> continues to face criticism—and cancellations—for homophobic comments he made during the Rolling Loud festival in late July.\u003c/p>\n\u003cp>Dua Lipa, who features the rapper on her mega-hit song “\u003ca href=\"https://www.youtube.com/watch?v=TUVcZfQe-Kw\" target=\"_blank\" rel=\"noopener noreferrer\">Levitating\u003c/a>,” was among those who \u003ca href=\"https://variety.com/2021/music/news/dua-lipa-dababy-homophobic-remarks-1235028796/\" target=\"_blank\" rel=\"noopener noreferrer\">quickly criticized\u003c/a> him. \u003ca href=\"https://www.cnn.com/2021/07/30/entertainment/dababy-elton-madonna-backlash-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Elton John and Madonna\u003c/a> also lambasted DaBaby and railed against misinformation in his comments about HIV.\u003c/p>\n\u003cp>During the Miami performance, he \u003ca href=\"https://www.capitalxtra.com/news/what-did-dababy-say-homophobic-speech-rant-rolling-loud-festival-miami-video/\" target=\"_blank\" rel=\"noopener noreferrer\">had told\u003c/a> the audience: “If you didn’t show up today with HIV, AIDS, any of them deadly sexually transmitted diseases that’ll make you die in two or three weeks, put your cellphone light in the air.”\u003c/p>\n\u003cp>Music festivals including Lollapalooza, The Governors Ball and \u003ca href=\"https://twitter.com/aclfestival/status/1422573740311863300?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Austin City Limits Music Festival\u003c/a> canceled his appearances, and he lost a sponsorship deal with the clothing brand BooHoo.\u003c/p>\n\u003cp>DaBaby has grown into a \u003ca href=\"https://www.washingtonpost.com/entertainment/music/fresh-off-snl-performance-dababy-brought-his-hits--and-sketches--to-dc/2019/12/09/24e27f86-1a9c-11ea-977a-15a6710ed6da_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">critical\u003c/a> and commercial superstar in recent years, reigning over a powerful audience with his millions of followers on social media. He has won BET Awards and been nominated for Grammys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The swift fallout from his remarks could signify a change in attitudes toward what the music business will tolerate when it comes to explicitly offensive and exclusionary language from some of its biggest stars.\u003c/p>\n\u003cp>“I think there’s definitely a new moment,” says Brown University professor \u003ca href=\"http://www.triciarose.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tricia Rose\u003c/a> who has written two books on hip-hop.\u003c/p>\n\u003ch3>DaBaby has been accused of bad behavior before\u003c/h3>\n\u003cp>While Rose believes the festivals are doing the right thing by removing DaBaby from their rosters, she also sees more than a hint of hypocrisy in the organizers’ actions. She notes that the music industry has long tolerated and profited from artists like DaBaby, who has been \u003ca href=\"https://apnews.com/article/hip-hop-and-rap-arrests-us-news-dababy-eddf29e3456162fefbfb6b099f467c68\" target=\"_blank\" rel=\"noopener noreferrer\">accused\u003c/a> of bad behavior before this incident.\u003c/p>\n\u003cp>At the same Rolling Loud festival, for example, he followed \u003ca href=\"https://www.npr.org/artists/728754756/megan-thee-stallion\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Thee Stallion\u003c/a>‘s performance by bringing rapper Tory Lanez on stage, who \u003ca href=\"https://www.npr.org/2020/10/08/921902926/rapper-tory-lanez-charged-in-megan-thee-stallion-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">Stallion alleges shot her in the foot\u003c/a> last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s many artists who are promoted by the industry, who are celebrated by the industry because of their, quote, unquote, edgy extreme behavior. That is a longstanding pattern that has not abated in any way,” Rose says. “Then when they step out of line about when and how they actually live into that identity, then there’s all this sort of ‘We’re all about peace, love and happiness.’ ”\u003c/p>\n\u003cp>Since the uproar, DaBaby has tried to be about peace and understanding in his efforts to counter the fallout. In his second \u003ca href=\"https://www.instagram.com/p/CSFMMBbpc3F/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a>, he wrote, “Social media moves so fast that people want to demolish you before you have a chance to grow, educate and learn from your mistakes.”\u003c/p>\n\u003ch3>Apologizing is one step; making amends is another\u003c/h3>\n\u003cp>\u003ca href=\"http://www.kevinpowell.net/about.php\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Powell\u003c/a>, who’s written extensively about hip-hop and toxic masculinity in American culture, says the language in DaBaby’s apology is important.\u003c/p>\n\u003cp>“I believe in counsel culture, not cancel culture,” says Powell. “Do we just want to keep canceling people out because of their racism, their sexism and homophobia, transphobia? Or do we actually want to educate people so we become a more educated populace so this does not become a normalized thing?”\u003c/p>\n\u003cp>Powell hopes DaBaby will do a lot more than just apologize for his behavior to protect his career.\u003c/p>\n\u003cp>“He has to be serious. No matter who you are you have to be serious about making amends. You have to become an advocate for women and girls. You have to become an advocate against homophobia and transphobia. You have to make amends by your actions or your deeds. It can’t just be an apology just because you’re trying to save your career,” Powell adds.\u003c/p>\n\u003cp>The uproar underscores how cultural attitudes about sexuality in pop music are changing. Right now, the openly gay rapper \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> has two hit songs and was \u003ca href=\"https://www.nytimes.com/2021/07/07/magazine/lil-nas-x.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently profiled\u003c/a> in \u003cem>The New York Times Magazine\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Both Powell and Tricia Rose believe his success signals progress, but they also say the work toward a more inclusive music industry is far from over.\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+Music+Industry+Is+Holding+DaBaby+Accountable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Composer Gabriela Lena Frank thinks of the climate crisis in terms of butterflies and worms.\u003c/p>\n\u003cp>“Growing up in Berkeley, I remember putting my hands in the dirt in the garden that we had and insects would come out,” Frank says in a Zoom call. “That’s not just my imagination. Science says 60 percent of our insect life, and our bird population, is down. I remember going back and looking at old photo albums, my mom taking photos of me in the garden, and there were butterflies all around and it was just—it was different.”\u003c/p>\n\u003cp>Frank is an accomplished composer and educator in high demand. Her works have been performed by the Kronos Quartet and Yo-Yo Ma’s Silk Road Ensemble, and her festival appearances are booked years in advance—she has a waiting list that reaches into 2026. \u003c/p>\n\u003cp>Frank is best known for imaginative fusions of Peruvian sounds with Western instruments in pieces like \u003cem>Ritmos Anchinos\u003c/em> and \u003cem>Leyendas: An Andean Walkabout\u003c/em>, multicultural collisions that express her own mixed heritage. Even as she kept busy with regular trips to Peru for anthropological work and running her own music education non-profit, she couldn’t shake her memories of butterfly-filled gardens. She couldn’t ignore that the land around her farm-slash-academy outside of Boonville, in Mendocino County, was changing before her eyes. \u003c/p>\n\u003cp>“I’m going to say 2018 is when I really woke up, when Paradise burned a couple hours from us, a county over,” says Frank. “I had musicians here at my academy, and we were literally breathing in its demise. It was just inescapable.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She became, in her words, “intimate with grief.” Now she’s channeling that grief into her elegy for the climate crisis, \u003cem>Contested Eden\u003c/em>, which premieres in an online stream on Saturday, July 31, to open this year’s all-virtual Cabrillo Festival of Contemporary Music. \u003c/p>\n\u003cfigure id=\"attachment_13900423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-800x533.jpg\" alt=\"Dancers kick up ash and dust among burned trees in the mountains\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13900423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers choreographed by Molly Katzman perform as part of the streamed premiere of ‘Contested Eden.’ \u003ccite>(Crystal Birns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cabrillo, after going through \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" rel=\"noopener noreferrer\" target=\"_blank\">their own difficult troubles with fires\u003c/a>, came to me a few months ago and asked, ‘Would you be open to doing something about the California fires?’” Frank recalls. ”They caught me by surprise, and I instantly just busted out crying. I lost my professional demeanor. I said yes before I even had an idea.”\u003c/p>\n\u003cp>It was also Cabrillo’s idea to add a visual component to Frank’s piece. \u003cem>Contested Eden\u003c/em> will be accompanied by a pre-recorded dance, choreographed by Molly Katzman, performed on the blackened terrain left by the 2020 wildfires in the Santa Cruz mountains. \u003c/p>\n\u003cp>Frank wanted to express, through music, how the threat of fires has come to rule her and her neighbors’ lives. “Every year, my husband and I … we’re in fire preparation mode 24 hours a day, seven days a week,” Frank says. “We’ve been cutting down trees, we installed about 40,000 gallons of water and tanks, we ripped off the cedar shingles on our main house, put on stucco. That cost me like two symphonies.” \u003c/p>\n\u003cp>\u003cem>Contested Eden\u003c/em> is about the fragility of life during the climate crisis; Frank calls it a secular elegy, split into two movements. “The first movement is essentially a prayer, and it goes super intimate. It can be played with a string quartet, just four players.“\u003c/p>\n\u003cp>The second movement, titled “in extremis,” brings in the full orchestra. “It builds up this big orchestral swell. And then it breaks, and as it breaks apart, you’re left with this one singing violin line up at the top. Then, over the next six minutes, it takes its time to wind its way down this one melodic arch before I pass it to the violas, to the cellos, to the basses. During this whole time, all these random bits of music are thrown up against it.”\u003c/p>\n\u003cp>The passage represents the psychological wounds of contingent living, where even “the smallest human error, like a flat tire, can set off the biggest fire ever in Mendocino County.” Some of those random bits of music are quotations from Frank’s previous works, snippets of melody taken out of context, like charred pages from a book landing in a backyard, miles away. \u003c/p>\n\u003cp>“It’s not even necessarily beautiful to listen to,” Frank says. “But that’s life in extremis. You’re just trying to keep going, and bits of you are coming out that don’t make sense.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Contested Eden’ premieres Saturday, July 31, as part of the Cabrillo Festival of Contemporary Music’s virtual festival. Tickets are free to the public. \u003ca href=\"https://cabrillomusic.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The Mendocino County composer's new work conveys the anxiety and grief of California's fire season.\r\n\r\n",
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"title": "Wildfire Hits a Crescendo in Gabriela Lena Frank's 'Contested Eden' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Composer Gabriela Lena Frank thinks of the climate crisis in terms of butterflies and worms.\u003c/p>\n\u003cp>“Growing up in Berkeley, I remember putting my hands in the dirt in the garden that we had and insects would come out,” Frank says in a Zoom call. “That’s not just my imagination. Science says 60 percent of our insect life, and our bird population, is down. I remember going back and looking at old photo albums, my mom taking photos of me in the garden, and there were butterflies all around and it was just—it was different.”\u003c/p>\n\u003cp>Frank is an accomplished composer and educator in high demand. Her works have been performed by the Kronos Quartet and Yo-Yo Ma’s Silk Road Ensemble, and her festival appearances are booked years in advance—she has a waiting list that reaches into 2026. \u003c/p>\n\u003cp>Frank is best known for imaginative fusions of Peruvian sounds with Western instruments in pieces like \u003cem>Ritmos Anchinos\u003c/em> and \u003cem>Leyendas: An Andean Walkabout\u003c/em>, multicultural collisions that express her own mixed heritage. Even as she kept busy with regular trips to Peru for anthropological work and running her own music education non-profit, she couldn’t shake her memories of butterfly-filled gardens. She couldn’t ignore that the land around her farm-slash-academy outside of Boonville, in Mendocino County, was changing before her eyes. \u003c/p>\n\u003cp>“I’m going to say 2018 is when I really woke up, when Paradise burned a couple hours from us, a county over,” says Frank. “I had musicians here at my academy, and we were literally breathing in its demise. It was just inescapable.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She became, in her words, “intimate with grief.” Now she’s channeling that grief into her elegy for the climate crisis, \u003cem>Contested Eden\u003c/em>, which premieres in an online stream on Saturday, July 31, to open this year’s all-virtual Cabrillo Festival of Contemporary Music. \u003c/p>\n\u003cfigure id=\"attachment_13900423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-800x533.jpg\" alt=\"Dancers kick up ash and dust among burned trees in the mountains\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13900423\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/CabrilloFest-Contested-Eden-Dance-credit-Crystal-Birns-013.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers choreographed by Molly Katzman perform as part of the streamed premiere of ‘Contested Eden.’ \u003ccite>(Crystal Birns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cabrillo, after going through \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" rel=\"noopener noreferrer\" target=\"_blank\">their own difficult troubles with fires\u003c/a>, came to me a few months ago and asked, ‘Would you be open to doing something about the California fires?’” Frank recalls. ”They caught me by surprise, and I instantly just busted out crying. I lost my professional demeanor. I said yes before I even had an idea.”\u003c/p>\n\u003cp>It was also Cabrillo’s idea to add a visual component to Frank’s piece. \u003cem>Contested Eden\u003c/em> will be accompanied by a pre-recorded dance, choreographed by Molly Katzman, performed on the blackened terrain left by the 2020 wildfires in the Santa Cruz mountains. \u003c/p>\n\u003cp>Frank wanted to express, through music, how the threat of fires has come to rule her and her neighbors’ lives. “Every year, my husband and I … we’re in fire preparation mode 24 hours a day, seven days a week,” Frank says. “We’ve been cutting down trees, we installed about 40,000 gallons of water and tanks, we ripped off the cedar shingles on our main house, put on stucco. That cost me like two symphonies.” \u003c/p>\n\u003cp>\u003cem>Contested Eden\u003c/em> is about the fragility of life during the climate crisis; Frank calls it a secular elegy, split into two movements. “The first movement is essentially a prayer, and it goes super intimate. It can be played with a string quartet, just four players.“\u003c/p>\n\u003cp>The second movement, titled “in extremis,” brings in the full orchestra. “It builds up this big orchestral swell. And then it breaks, and as it breaks apart, you’re left with this one singing violin line up at the top. Then, over the next six minutes, it takes its time to wind its way down this one melodic arch before I pass it to the violas, to the cellos, to the basses. During this whole time, all these random bits of music are thrown up against it.”\u003c/p>\n\u003cp>The passage represents the psychological wounds of contingent living, where even “the smallest human error, like a flat tire, can set off the biggest fire ever in Mendocino County.” Some of those random bits of music are quotations from Frank’s previous works, snippets of melody taken out of context, like charred pages from a book landing in a backyard, miles away. \u003c/p>\n\u003cp>“It’s not even necessarily beautiful to listen to,” Frank says. “But that’s life in extremis. You’re just trying to keep going, and bits of you are coming out that don’t make sense.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Contested Eden’ premieres Saturday, July 31, as part of the Cabrillo Festival of Contemporary Music’s virtual festival. Tickets are free to the public. \u003ca href=\"https://cabrillomusic.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Don't Forget the Timeless Soundtrack to Los Angeles' 1984 Summer Games",
"headTitle": "Don’t Forget the Timeless Soundtrack to Los Angeles’ 1984 Summer Games | KQED",
"content": "\u003cp>\u003cem>Chariots of Fire\u003c/em>, the drama depicting two British Olympian runners, was released in 1981—40 years ago this spring—and left us with an enduring cultural treasure: its musical \u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=8a-HfNE3EIo__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J16RiUUw%24\" target=\"_blank\" rel=\"noopener noreferrer\">theme\u003c/a>. The pulsing, instrumental anthem summoned the will to accomplish our dreams and served as the soundtrack for the world’s fake-slow-motion running activities for a generation.\u003c/p>\n\u003cp>The 1980s also gave the world \u003cem>another\u003c/em> musical gift of Olympic proportions—this time for the real-life Summer games: \u003cem>The Official Music of the XXIIIrd Olympiad Los Angeles 1984. \u003c/em>The lesser-known \u003ca href=\"https://www.discogs.com/Various-The-Official-Music-Of-The-XXIIIrd-Olympiad-Los-Angeles-1984/release/544704\" target=\"_blank\" rel=\"noopener noreferrer\">album\u003c/a> served, and serves, not only as an historical souvenir but as the definitive collection of athletic event and ceremony themes crafted for the occasion—including the debut of John William’s beloved and perennial composition, “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=YWdOFgDQIn0__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LOdu8hBw%24\" target=\"_blank\" rel=\"noopener noreferrer\">Olympic Fanfare and Theme\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YWdOFgDQIn0\u003c/p>\n\u003cp>Lost to the vagaries of time and digitization and only available through piecemealed tracks and YouTube links, \u003cem>The Official Music\u003c/em> was an ambitious undertaking, led by Hollywood all-star producers Peter Guber and Jon Peters, who played off the glossy, neon-clad excess that the world of 1980s entertainment had in piles.\u003c/p>\n\u003cp>The top of the album leads off with the traditional “Bugler’s Dream (From Charge Suite)” by Arnaud, followed by a moody synthesizer swell. Then, a male vocalist gets on the mic: “You know you paid the price / you made every sacrifice” and bam, “Nothing’s Gonna Stop You Now (Team Sports Theme).”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rDYh1b9fiZ0\u003c/p>\n\u003cp>The artist lineup was a who’s-who of ’80s musical legends and also Loverboy, each in turn contributing to a string of montage-worthy anthems: Toto’s “\u003ca href=\"https://www.youtube.com/watch?v=_BycQ-s4nZA\" target=\"_blank\" rel=\"noopener noreferrer\">Moodido (The Match) (Boxing Theme)\u003c/a>,” Foreigner’s marathon theme “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=sjIakKdfBas__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LRtv9P_g%24\" target=\"_blank\" rel=\"noopener noreferrer\">Street Thunder (Marathon Theme)\u003c/a>,” Bill Conti’s “\u003ca href=\"https://www.youtube.com/watch?v=DT-RlgbBj4Q\" target=\"_blank\" rel=\"noopener noreferrer\">Power (Power Sports Theme)\u003c/a>” and montage hall-of-famer Giorgio Moroder’s “Reach Out (Track Theme).” What would equate, in 2021 terms? Mike Dean’s skateboarding theme? Lizzo on a flute solo in the middle of the artistic swimming theme?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vmlZGBikjgU\u003c/p>\n\u003cp>\u003cem>Music of the XXIIIrd Olympiad \u003c/em>wasn’t just wall-to-wall rock numbers—there are some notable genre-hopping curiosities, too. Keyboardist and composer Bob James scored extra points for the sampling of basketball dribbles on the bouncing “\u003ca href=\"https://www.youtube.com/watch?v=vpwX33_6BHo\" target=\"_blank\" rel=\"noopener noreferrer\">Courtship (Basketball Theme)\u003c/a>“; Herbie Hancock mixes international instruments and rhythms into a post-“Rockit” composition of pure synthesizer bliss for “Junku (Field Theme)”; Christopher Cross and Burt Bacharach teamed up to write “\u003ca href=\"https://www.youtube.com/watch?v=NlQtWljHBz0\" target=\"_blank\" rel=\"noopener noreferrer\">A Chance For Heaven (Swimming Theme)\u003c/a>,” which rocks as soft as water and, oddly, is mostly concerned with the climbing of mountains in its lyrics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DgwuFQSCORY\u003c/p>\n\u003cp>But it wouldn’t be an ’80s production without a contribution from Quincy Jones, whose digitally orchestral “Grace (Gymnastics Theme)” evokes the athletes’ nimble, sweeping movements. (The track also appeared as the B-Side to 1985’s “We Are The World,” in case the Summer Olympics wasn’t a global enough event for Quincy.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q9JZY0Db8zQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The concept of unity was strong throughout, both musically and within the liner notes from the artists printed on the verso of the record sleeve. “I can think of no event to compare with the Olympic Games which makes us so conscious of our shared humanity, our common fate” wrote Philip Glass, who composed “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=PMWkTGdvY1k__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J8NQ-s5A%24\" target=\"_blank\" rel=\"noopener noreferrer\">The Olympian—Lighting Of The Torch\u003c/a>,” the closing track of the album. And he’s right. The Olympics offer an opportunity for the world to come together in competition and celebration—but there’s one thing I hope we can all be united on: This album slaps.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Forget+The+Timeless+Soundtrack+To+Los+Angeles%27+1984+Summer+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The official soundtrack to 'Los Angeles 1984' remains as slick and deliciously dramatic as the old games' host city.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Chariots of Fire\u003c/em>, the drama depicting two British Olympian runners, was released in 1981—40 years ago this spring—and left us with an enduring cultural treasure: its musical \u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=8a-HfNE3EIo__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J16RiUUw%24\" target=\"_blank\" rel=\"noopener noreferrer\">theme\u003c/a>. The pulsing, instrumental anthem summoned the will to accomplish our dreams and served as the soundtrack for the world’s fake-slow-motion running activities for a generation.\u003c/p>\n\u003cp>The 1980s also gave the world \u003cem>another\u003c/em> musical gift of Olympic proportions—this time for the real-life Summer games: \u003cem>The Official Music of the XXIIIrd Olympiad Los Angeles 1984. \u003c/em>The lesser-known \u003ca href=\"https://www.discogs.com/Various-The-Official-Music-Of-The-XXIIIrd-Olympiad-Los-Angeles-1984/release/544704\" target=\"_blank\" rel=\"noopener noreferrer\">album\u003c/a> served, and serves, not only as an historical souvenir but as the definitive collection of athletic event and ceremony themes crafted for the occasion—including the debut of John William’s beloved and perennial composition, “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=YWdOFgDQIn0__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LOdu8hBw%24\" target=\"_blank\" rel=\"noopener noreferrer\">Olympic Fanfare and Theme\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YWdOFgDQIn0'\n title='//www.youtube.com/embed/YWdOFgDQIn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lost to the vagaries of time and digitization and only available through piecemealed tracks and YouTube links, \u003cem>The Official Music\u003c/em> was an ambitious undertaking, led by Hollywood all-star producers Peter Guber and Jon Peters, who played off the glossy, neon-clad excess that the world of 1980s entertainment had in piles.\u003c/p>\n\u003cp>The top of the album leads off with the traditional “Bugler’s Dream (From Charge Suite)” by Arnaud, followed by a moody synthesizer swell. Then, a male vocalist gets on the mic: “You know you paid the price / you made every sacrifice” and bam, “Nothing’s Gonna Stop You Now (Team Sports Theme).”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rDYh1b9fiZ0'\n title='//www.youtube.com/embed/rDYh1b9fiZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The artist lineup was a who’s-who of ’80s musical legends and also Loverboy, each in turn contributing to a string of montage-worthy anthems: Toto’s “\u003ca href=\"https://www.youtube.com/watch?v=_BycQ-s4nZA\" target=\"_blank\" rel=\"noopener noreferrer\">Moodido (The Match) (Boxing Theme)\u003c/a>,” Foreigner’s marathon theme “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=sjIakKdfBas__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-LRtv9P_g%24\" target=\"_blank\" rel=\"noopener noreferrer\">Street Thunder (Marathon Theme)\u003c/a>,” Bill Conti’s “\u003ca href=\"https://www.youtube.com/watch?v=DT-RlgbBj4Q\" target=\"_blank\" rel=\"noopener noreferrer\">Power (Power Sports Theme)\u003c/a>” and montage hall-of-famer Giorgio Moroder’s “Reach Out (Track Theme).” What would equate, in 2021 terms? Mike Dean’s skateboarding theme? Lizzo on a flute solo in the middle of the artistic swimming theme?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vmlZGBikjgU'\n title='//www.youtube.com/embed/vmlZGBikjgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Music of the XXIIIrd Olympiad \u003c/em>wasn’t just wall-to-wall rock numbers—there are some notable genre-hopping curiosities, too. Keyboardist and composer Bob James scored extra points for the sampling of basketball dribbles on the bouncing “\u003ca href=\"https://www.youtube.com/watch?v=vpwX33_6BHo\" target=\"_blank\" rel=\"noopener noreferrer\">Courtship (Basketball Theme)\u003c/a>“; Herbie Hancock mixes international instruments and rhythms into a post-“Rockit” composition of pure synthesizer bliss for “Junku (Field Theme)”; Christopher Cross and Burt Bacharach teamed up to write “\u003ca href=\"https://www.youtube.com/watch?v=NlQtWljHBz0\" target=\"_blank\" rel=\"noopener noreferrer\">A Chance For Heaven (Swimming Theme)\u003c/a>,” which rocks as soft as water and, oddly, is mostly concerned with the climbing of mountains in its lyrics.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DgwuFQSCORY'\n title='//www.youtube.com/embed/DgwuFQSCORY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it wouldn’t be an ’80s production without a contribution from Quincy Jones, whose digitally orchestral “Grace (Gymnastics Theme)” evokes the athletes’ nimble, sweeping movements. (The track also appeared as the B-Side to 1985’s “We Are The World,” in case the Summer Olympics wasn’t a global enough event for Quincy.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Q9JZY0Db8zQ'\n title='//www.youtube.com/embed/Q9JZY0Db8zQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The concept of unity was strong throughout, both musically and within the liner notes from the artists printed on the verso of the record sleeve. “I can think of no event to compare with the Olympic Games which makes us so conscious of our shared humanity, our common fate” wrote Philip Glass, who composed “\u003ca href=\"https://urldefense.com/v3/__https://www.youtube.com/watch?v=PMWkTGdvY1k__;!!Iwwt!CzTQJ0XYowDzIsT6mo3jVOxG37P1wMdKYkOXJZjLdRUuCqd_ysT1H-J8NQ-s5A%24\" target=\"_blank\" rel=\"noopener noreferrer\">The Olympian—Lighting Of The Torch\u003c/a>,” the closing track of the album. And he’s right. The Olympics offer an opportunity for the world to come together in competition and celebration—but there’s one thing I hope we can all be united on: This album slaps.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Don%27t+Forget+The+Timeless+Soundtrack+To+Los+Angeles%27+1984+Summer+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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