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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4647142472&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few days ahead of April 15th — 415 Day — we’re talking to two artists from San Francisco who have lived, fought, partied, and made art for their hometown.\u003c/p>\n\u003cp>Jules Retzlaff (\u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>) and Sachiel Rosen (\u003ca href=\"https://www.instagram.com/baghead.osk/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>) are the duo behind the film and album, \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">Dedicated To Those Who\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cWmX3Y5GnP8\u003c/p>\n\u003cp>Cereal For The Kids produced the film, which highlights one of the most picturesque cities in the world, some people who make it what it is and the history that brought us here.\u003c/p>\n\u003cp>Baghead is the producer behind \u003ca href=\"https://www.audiovandals.com/baghead\" target=\"_blank\" rel=\"noopener noreferrer\">the audio portion\u003c/a> of the project, which serves as the soundtrack to the film. His album incorporates quotes from luminaries — like Toni Morrison, Nipsey Hussle and James Baldwin — as they speak to topics that transcend the boundaries of San Francisco’s seven mile by seven mile grid.\u003c/p>\n\u003cp>This week, we’re talking San Francisco’s art and activism, its history and its homies.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Baghead and Cereal For The Kids.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any message you want to share with the world as it relates to 415 day?\u003c/em>\u003c/p>\n\u003cp>Baghead: [415 Day] highlights how the people of San Francisco have always pushed back against forces that don’t want to respect them. It’s saying this is our land, this is the people’s, we want to grow our crops here we wanna grow our families here. And you can extend that idea to the world. This is the people’s world… We can’t keep building from these places of anger and hurt and pain. We have to enjoy our life and the people around us so that we can be invigorated and charged up to go do that work.\u003c/p>\n\u003cp>\u003cem>Pen: What is the intended purpose of the film “Dedicated To Those Who”?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: This is a love letter to the people who fight every day for the City, who fight to be here. And it’s also a call to action. You know, if you aren’t already throwing down, this is the time and we live in a very particular historical moment where we can make great change that lasts for generations. And we should celebrate that too and get hyphy, have a lot of fun, talk shit and drink 40s, but also, you know, do it and then show up at city hall the next day.\u003c/p>\n\u003cp>Baghead: We explore the role of artistry inside of a community revolution and love. And it’s not pretty and it’s not perfect, but it is really beautiful. And that kind of goes back to at the very end of the album, James Baldwin is talking…\u003c/p>\n\u003cp>Baldwin: “Your suffering does not isolate you but is your bridge, and many people have suffered before you, people have been suffering around you and always will…. All you can do is bring a little light into that suffering… We don’t change anything all we can do is invest people with the moral to change it for themselves”\u003c/p>\n\u003cp>Baghead: … We don’t change anything, we just give people a place to figure out their reality and learn how to engage with engage in it in a way that is going to create change.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Gotcha. And while Baghead held down the audio side of things, [Cereal For The Kids], you were behind the visuals.\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: The imagery is all reminiscent of our families histories. Like my father has lived in San Francisco since the 70s and was organizing. It’s an homage to folks here and gone, and the solidarity we have for each other… generations gone past… When our families migrated here 10 years ago, that struggle that brought them here is part of that intergenerational movement and that struggle in the city too.\u003c/p>\n\u003cp>\u003cem>Pen: There’s a lot of different footage, there’s ethnic studies footage, there’s some from labor strike. What footage are we looking at in terms of protest imagery?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: There’s footage from the Frisco 500 action where folks stormed city hall. Mario Woods was murdered in 2015. And then in 2016 is when organizing really kicked off. There’s also footage of the White Night riots when Dan White murdered Harvey Milk — which is an homage to the gay rights movement in the city, another moment in which city hall was stormed. So just trying to juxtapose historical moments to the ones we’re currently experiencing and trying to let folks know that history is a cycle, but we have the chance to break that cycle if we pay attention to it.\u003c/p>\n\u003cp>\u003cem>Pen: Baghead, Mario Woods, the organizing that happened around his killing, how did that politicize you and how does that show up in your art today?\u003c/em>\u003c/p>\n\u003cp>Baghead: That moment was kind of everything for me. Around the same time Mario Woods got killed, the administration at SF State was trying to cut funding to ethnic studies. And there was a huge march to expose the administration for cutting that funding. And relating it to the history of there being no space for Black and brown voices, or for working class voices.\u003c/p>\n\u003cp>\u003cem>Pen: Were you a part of the hunger strike that happened? At SF state?\u003c/em>\u003c/p>\n\u003cp>Baghead: Well, myself, [Cereal For the Kids], Ahkeel and Hassani went on hunger strike at SF state to push the administration to not cut funding as well as the other other list of demands.\u003c/p>\n\u003cp>\u003cem>Pen: How’d that go? How’d it end?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: It’s complicated, a lot of mistakes, a lot of good things too. We were able to fight the cuts but we did not make all our wins: the need for the expansion of programs that were not getting the funding they deserved. It was a big learning lesson for us as new organizers. But I think it also helped rejuvenate some stuff at State and was a really important politicizing moment for a lot of people.\u003c/p>\n\u003cp>\u003cem>Pen: You’re doing this work and you are in the City where it’s expensive as hell. How do you keep it together? How do you work with this collective group of people? I imagine it’s got to be tough.\u003c/em>\u003c/p>\n\u003cp>Baghead: Being an artist is hard as it is, but when everyone has a job, and on top of it, they have to work as much as they can to be able to live here, it makes it hard to collaborate in a healthy way. Ya know, a lot of us have these moments of being burnt out, but it’s the passion that keeps us going.\u003c/p>\n\u003cp>Cereal For The Kids: There’s a lot of mutual aid. There’s a lot of… we’re helping each other, all of us in our community deeply care about one another, have such fucking love.\u003c/p>\n\u003cp>Baghead: We’re not really sure how we’re going to make this city, from top down care about the people who built the city. We’re not sure how we’re going to make this a better world. We’re not sure how we’re going to make our dreams come true, but we believe in it. So go finish that sentence for us. Figure out your role, figure out, help us out, help yourself out.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC4647142472&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few days ahead of April 15th — 415 Day — we’re talking to two artists from San Francisco who have lived, fought, partied, and made art for their hometown.\u003c/p>\n\u003cp>Jules Retzlaff (\u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>) and Sachiel Rosen (\u003ca href=\"https://www.instagram.com/baghead.osk/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>) are the duo behind the film and album, \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">Dedicated To Those Who\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/cWmX3Y5GnP8'\n title='//www.youtube.com/embed/cWmX3Y5GnP8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cereal For The Kids produced the film, which highlights one of the most picturesque cities in the world, some people who make it what it is and the history that brought us here.\u003c/p>\n\u003cp>Baghead is the producer behind \u003ca href=\"https://www.audiovandals.com/baghead\" target=\"_blank\" rel=\"noopener noreferrer\">the audio portion\u003c/a> of the project, which serves as the soundtrack to the film. His album incorporates quotes from luminaries — like Toni Morrison, Nipsey Hussle and James Baldwin — as they speak to topics that transcend the boundaries of San Francisco’s seven mile by seven mile grid.\u003c/p>\n\u003cp>This week, we’re talking San Francisco’s art and activism, its history and its homies.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Baghead and Cereal For The Kids.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any message you want to share with the world as it relates to 415 day?\u003c/em>\u003c/p>\n\u003cp>Baghead: [415 Day] highlights how the people of San Francisco have always pushed back against forces that don’t want to respect them. It’s saying this is our land, this is the people’s, we want to grow our crops here we wanna grow our families here. And you can extend that idea to the world. This is the people’s world… We can’t keep building from these places of anger and hurt and pain. We have to enjoy our life and the people around us so that we can be invigorated and charged up to go do that work.\u003c/p>\n\u003cp>\u003cem>Pen: What is the intended purpose of the film “Dedicated To Those Who”?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: This is a love letter to the people who fight every day for the City, who fight to be here. And it’s also a call to action. You know, if you aren’t already throwing down, this is the time and we live in a very particular historical moment where we can make great change that lasts for generations. And we should celebrate that too and get hyphy, have a lot of fun, talk shit and drink 40s, but also, you know, do it and then show up at city hall the next day.\u003c/p>\n\u003cp>Baghead: We explore the role of artistry inside of a community revolution and love. And it’s not pretty and it’s not perfect, but it is really beautiful. And that kind of goes back to at the very end of the album, James Baldwin is talking…\u003c/p>\n\u003cp>Baldwin: “Your suffering does not isolate you but is your bridge, and many people have suffered before you, people have been suffering around you and always will…. All you can do is bring a little light into that suffering… We don’t change anything all we can do is invest people with the moral to change it for themselves”\u003c/p>\n\u003cp>Baghead: … We don’t change anything, we just give people a place to figure out their reality and learn how to engage with engage in it in a way that is going to create change.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Gotcha. And while Baghead held down the audio side of things, [Cereal For The Kids], you were behind the visuals.\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: The imagery is all reminiscent of our families histories. Like my father has lived in San Francisco since the 70s and was organizing. It’s an homage to folks here and gone, and the solidarity we have for each other… generations gone past… When our families migrated here 10 years ago, that struggle that brought them here is part of that intergenerational movement and that struggle in the city too.\u003c/p>\n\u003cp>\u003cem>Pen: There’s a lot of different footage, there’s ethnic studies footage, there’s some from labor strike. What footage are we looking at in terms of protest imagery?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: There’s footage from the Frisco 500 action where folks stormed city hall. Mario Woods was murdered in 2015. And then in 2016 is when organizing really kicked off. There’s also footage of the White Night riots when Dan White murdered Harvey Milk — which is an homage to the gay rights movement in the city, another moment in which city hall was stormed. So just trying to juxtapose historical moments to the ones we’re currently experiencing and trying to let folks know that history is a cycle, but we have the chance to break that cycle if we pay attention to it.\u003c/p>\n\u003cp>\u003cem>Pen: Baghead, Mario Woods, the organizing that happened around his killing, how did that politicize you and how does that show up in your art today?\u003c/em>\u003c/p>\n\u003cp>Baghead: That moment was kind of everything for me. Around the same time Mario Woods got killed, the administration at SF State was trying to cut funding to ethnic studies. And there was a huge march to expose the administration for cutting that funding. And relating it to the history of there being no space for Black and brown voices, or for working class voices.\u003c/p>\n\u003cp>\u003cem>Pen: Were you a part of the hunger strike that happened? At SF state?\u003c/em>\u003c/p>\n\u003cp>Baghead: Well, myself, [Cereal For the Kids], Ahkeel and Hassani went on hunger strike at SF state to push the administration to not cut funding as well as the other other list of demands.\u003c/p>\n\u003cp>\u003cem>Pen: How’d that go? How’d it end?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: It’s complicated, a lot of mistakes, a lot of good things too. We were able to fight the cuts but we did not make all our wins: the need for the expansion of programs that were not getting the funding they deserved. It was a big learning lesson for us as new organizers. But I think it also helped rejuvenate some stuff at State and was a really important politicizing moment for a lot of people.\u003c/p>\n\u003cp>\u003cem>Pen: You’re doing this work and you are in the City where it’s expensive as hell. How do you keep it together? How do you work with this collective group of people? I imagine it’s got to be tough.\u003c/em>\u003c/p>\n\u003cp>Baghead: Being an artist is hard as it is, but when everyone has a job, and on top of it, they have to work as much as they can to be able to live here, it makes it hard to collaborate in a healthy way. Ya know, a lot of us have these moments of being burnt out, but it’s the passion that keeps us going.\u003c/p>\n\u003cp>Cereal For The Kids: There’s a lot of mutual aid. There’s a lot of… we’re helping each other, all of us in our community deeply care about one another, have such fucking love.\u003c/p>\n\u003cp>Baghead: We’re not really sure how we’re going to make this city, from top down care about the people who built the city. We’re not sure how we’re going to make this a better world. We’re not sure how we’re going to make our dreams come true, but we believe in it. So go finish that sentence for us. Figure out your role, figure out, help us out, help yourself out.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking",
"headTitle": "Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking | KQED",
"content": "\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. [aside postid='arts_13883674']\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” [aside postid='pop_61190']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do Janet Jackson, Ira Glass, Kermit the Frog, Nas and Louis Armstrong have in common?\u003c/p>\n\u003cp>These musicians, interviewers, and frogs are behind songs and other recordings to be \u003ca href=\"https://www.loc.gov/item/prn-21-015/national-recording-registry-adds-rhythm-nation-among-25-new-selections/2021-03-24/\" target=\"_blank\" rel=\"noopener noreferrer\">inducted\u003c/a> into the Library of Congress’s National Recording Registry on Wednesday.\u003c/p>\n\u003cp>The Library of Congress announced the 25 titles picked this year are considered “audio treasures worthy of preservation” based on their cultural, historical, or aesthetic importance to the nation’s heritage.\u003c/p>\n\u003cp>Janet Jackson’s album “Rhythm Nation 1814;” Louis Armstrong’s performance of “When the Saints Go Marching In;” Labelle’s song “Lady Marmalade;” Nas’ record “Illmatic,” Kool & the Gang’s “Celebration;” and Kermit the Frog’s “The Rainbow Connection” are now part of the collection of more than 550 other titles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wyLjbMBpGDA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Librarian of Congress Carla Hayden said in a statement Wednesday.\u003c/p>\n\u003cp>The recordings, stretching from 1878 to 2008, were chosen out of 900 nominations from the public, Hayden said.\u003c/p>\n\u003cp>“This American Life” is the first podcast to join the registry. The 2008 episode co-produced with NPR News telling the story of the subprime mortgage crisis will be added to the collection.\u003c/p>\n\u003cp>“When we put this out as a podcast, turning a radio show into a podcast, we did literally nothing to accommodate it,” host Ira Glass said in a statement shared by the Library of Congress. “And my theory is that podcasting is most powerful for the same reason that radio is the most powerful. That is, when you have a medium where you’re not seeing people, there’s just an intimacy to hearing somebody’s voice.”\u003c/p>\n\u003cp>The inclusion of Kermit the Frog’s “The Rainbow Connection” deeply touched the Muppet.\u003c/p>\n\u003cp>“Well, gee, it’s an amazing feeling to officially become part of our nation’s history,” Kermit said in a statement. “It’s a great honor. And I am thrilled—I am thrilled!—to be the first frog on the list!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jS5fTzMP_mg\u003c/p>\n\u003cp>The song was included in the 1979 \u003cem>The Muppet Movie\u003c/em> performed by Jim Henson as Kermit the Frog, and written by Paul Williams and Kenneth Ascher.\u003c/p>\n\u003cp>Williams said the song is about the “immense power of faith.”\u003c/p>\n\u003cp>“We don’t know how it works, but we believe that it does,” Williams said. “Sometimes the questions are more beautiful than the answers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress selects 25 titles each year that are at least 10 years old.\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=Works+By+Thomas+Edison%2C+Kermit+The+Frog+Inducted+Into+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Librarian of Congress Carla Hayden said in a statement Wednesday.\u003c/p>\n\u003cp>The recordings, stretching from 1878 to 2008, were chosen out of 900 nominations from the public, Hayden said.\u003c/p>\n\u003cp>“This American Life” is the first podcast to join the registry. The 2008 episode co-produced with NPR News telling the story of the subprime mortgage crisis will be added to the collection.\u003c/p>\n\u003cp>“When we put this out as a podcast, turning a radio show into a podcast, we did literally nothing to accommodate it,” host Ira Glass said in a statement shared by the Library of Congress. “And my theory is that podcasting is most powerful for the same reason that radio is the most powerful. That is, when you have a medium where you’re not seeing people, there’s just an intimacy to hearing somebody’s voice.”\u003c/p>\n\u003cp>The inclusion of Kermit the Frog’s “The Rainbow Connection” deeply touched the Muppet.\u003c/p>\n\u003cp>“Well, gee, it’s an amazing feeling to officially become part of our nation’s history,” Kermit said in a statement. “It’s a great honor. And I am thrilled—I am thrilled!—to be the first frog on the list!”\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/jS5fTzMP_mg'\n title='//www.youtube.com/embed/jS5fTzMP_mg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song was included in the 1979 \u003cem>The Muppet Movie\u003c/em> performed by Jim Henson as Kermit the Frog, and written by Paul Williams and Kenneth Ascher.\u003c/p>\n\u003cp>Williams said the song is about the “immense power of faith.”\u003c/p>\n\u003cp>“We don’t know how it works, but we believe that it does,” Williams said. “Sometimes the questions are more beautiful than the answers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress selects 25 titles each year that are at least 10 years old.\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=Works+By+Thomas+Edison%2C+Kermit+The+Frog+Inducted+Into+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland’s Morcom Rose Garden is beautiful, a floral oasis in the middle of the city, and it’s also a short walk from \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amina Shareef Ali\u003c/a>’s place, so it makes sense that it’s been a backdrop for some of the singer-songwriter’s most memorable moments over the past few years.\u003c/p>\n\u003cp>Sometimes those experiences only became poignant in retrospect—like the time she did a tarot reading with a soon-to-be-ex over there on the concrete steps, she tells me on a recent drizzly Wednesday, as she points across the garden. “And as far as I knew, everything was peachy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13894477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Within weeks, the relationship would fall apart, leaving Ali grappling with heartbreak of a magnitude she’d never known—and providing, as breakups are wont to do, the inspiration for a slew of new music. \u003ca href=\"https://aminashareefali.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Dark (Awake of Course)\u003c/em>\u003c/a>, out Monday, March 29, is a collection of earnest folk-punk songs about grief, acceptance, and the decision that life is worth living, even when all available evidence points to the contrary.\u003c/p>\n\u003cp>It’s also Ali’s first new record in seven years—a “gap in the resume,” she says, that she comes by honestly. Originally from St. Louis, Ali landed in the Bay Area in 2007 after studying music composition at Oberlin College, and has been a fixture in the local singer-songwriter circuit ever since. Her 2014 record \u003cem>A Place to Remember the Dead\u003c/em>, in particular, with its Occupy-era protest songs and playful odes to crushes, handily cemented her place in the scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>In the Dark\u003c/em> is deeper, more nuanced, more vulnerable, with good reason. These songs span a period of time in which Ali experienced seismic shift after shift. She became a parent. She went back to school to become a therapist. And then she came out as a transgender woman.\u003c/p>\n\u003cp>“So when people are like, ‘What have you been up to?’” she says with a hint of a smile, “the answer is all of that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DnF3Oe2LdxY\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time Brian Belknap saw Amina Shareef Ali play, it was at \u003ca href=\"https://www.sfchronicle.com/food/article/Hotel-Utah-is-not-your-average-open-mic-night-bar-12969717.php\" target=\"_blank\" rel=\"noopener noreferrer\">the Hotel Utah\u003c/a> in 2010, and she introduced a song called “Tucson” by talking about Arizona SB 1070, the controversial immigration legislation that critics saw as institutionalized racial profiling. Belknap, a longtime Bay Area musician and activist—who at the time was involved in the fight to make San Francisco a sanctuary city—was struck by her words.\u003c/p>\n\u003cp>“And then the next time I saw her was at a warehouse show where she was just running around making everyone spaghetti,” he recalls. “There’s a sense of community that I think is really foundational for everything she does.”\u003c/p>\n\u003cfigure id=\"attachment_13894475\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Vert_.jpg\" alt=\"Amina Shareef Ali.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali. \u003ccite>(Rob Fatal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two became fast friends after that; a decade later, Belknap is one of a handful of longtime collaborators who contributed vocals to what is mostly a solo album; Ali plays guitars, percussion, harmonica and more on \u003cem>In the Dark\u003c/em>. That wasn’t always the plan: In early 2020, Ali had designs on a full-band record; she even rehearsed the band once before shelter in place rules hit. But scrapping that idea turned out to be liberating in another way.\u003c/p>\n\u003cp>“I learned more about recording myself, and it allowed me to experiment and be an amateur and not be apologetic about that,” says the songwriter, who has previously earned comparisons to Conor Oberst; here, she seems to channel early bedroom recordings by John Darnielle and Kimya Dawson, with vocals occasionally veering into something Nico-esque. “Which is something I think I lost during my early years of doing music, when I always felt like I had to demonstrate that I’m a serious musician. I always had something to prove.”\u003c/p>\n\u003cp>Indeed, there’s an audible sense of freedom and abandon on songs like “Ready 2 Love U,” a lo-fi appreciation for the potential-filled moment before the start of a new affair: “The water’s warm, but I’m only ankle deep / I don’t know what you look like when you cry, I wanna know what you look like when you sleep,” asserts Ali, before reminding herself: “My body wasn’t made not to be touched / I’m thirty-eight years old, and I’m ready to love you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dYHYiy7biv4\u003c/p>\n\u003cp>Elsewhere, she tells off a misogynist would-be paramour; paints pastoral scenes out of take-out smells and Sharpie tags at Oakland playgrounds; and borrows from her 6-year-old, Hazel — who has a co-writing credit on two different songs — with lyrics like “Some hearts are red like a dragonfruit / some hearts are purple like a grape.”\u003c/p>\n\u003cp>Unsurprisingly, given Ali’s day job, certain lyrics also dip into therapist-speak. There is sometimes a level of earnestness which is hard to imagine other people getting away with. Ali pulls it off because she’s also hilarious, and raunchy, and self-deprecating, and equally prone to tangents about radical politics and the latest parkour video she got obsessed with on YouTube.\u003c/p>\n\u003cp>“I’m really about honoring even the most minute details of experience,” says Ali. “Especially right now, when experience is so constrained: you can’t see friends; you can’t hug anyone outside your pod; oh, now the air’s full of smoke so you can’t go outside. You can’t do jack shit, so what can we do with what is here? What meaning can we derive from this? Because this meaning ain’t gonna make itself.”\u003c/p>\n\u003cfigure id=\"attachment_13894474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.forest-800x527.jpg\" alt=\"Amina Shareef Ali in 2017.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali in 2017. \u003ccite>(Eva Wo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Brett and Elizabeth Cline first founded the \u003ca href=\"https://www.thelostchurch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lost Church\u003c/a> in 2011, they expected the homey room, tucked inside a Mission District building designed by renowned architect David Ireland, to be a place for theater—small-scale, experimental musicals put on by their friends. But word got out fast about the charming, funky space. It wasn’t long before the singer-songwriter community, ever hungry for quiet rooms, claimed it as their own.\u003c/p>\n\u003cp>“It was sort of a ‘If you build it, they will come,’ situation, and Amina was one of the very first people who came,” remembers Brett a decade later. He’s still not even sure how she heard about the place, but he knows her shows “opened the floodgates” for other singer-songwriters to want to play there.\u003c/p>\n\u003cp>“I remember her showing up as this skinny, righteous, idealistic kid in a cowboy hat, and I learned that she had done a tour where she just went on trains for a month with her guitar. And thinking, ‘OK, that’s awesome. That’s legit.’ And her music was raw, very honest, vulnerable, authentic. There was never a made-up persona or a shield. She laid it all out on the line. And on the stage.”\u003c/p>\n\u003cp>The stage has also been the very literal place where Ali has, over the past four years, come out—often writing and singing her way through formative moments in her transition, as with the cheeky country song “Farewell to My Man.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_piJIo5vGSA\u003c/p>\n\u003cp>For the most part, she has been pleasantly surprised by people in the music community whose reactions she was nervous about. And she’s enjoyed ongoing support from a tight-knit chosen family of queer artists in Oakland—chief among them, her longtime partner and co-parent, Sil.\u003c/p>\n\u003cp>Which is not to say it’s all been easy. On the contrary, one doesn’t need to read between the lines on \u003cem>In the Dark\u003c/em> to hear signs that its narrator may have very well been to hell and back.\u003c/p>\n\u003cp>And that’s likely one reason the record feels so perfectly timed, as we round the bend on a year of isolation, anxiety, and grief: it’s the “and back” part that counts. Indeed, Ali names “I Came Back to Life” as perhaps the most important track on the record:\u003c/p>\n\u003cblockquote>\u003cp>I never been the one that quits, no I’m the one that does CPR for 45 minutes\u003cbr>\nBut once you’ve broken all the ribs, girl, you gotta admit that this love is finished\u003cbr>\nthere’s some things that you can’t bring back\u003cbr>\nthere’s some things that you can’t revive\u003cbr>\nafter all, life didn’t come back to me, no\u003cbr>\nI came back to life\u003c/p>\u003c/blockquote>\n\u003cp>“There was a time when all I could think about was trying to regain something that I lost. But now I’m not sad about any of that anymore,” she says, pausing to toss an instinctive “Go Cards” at a passing dad in a St. Louis Cardinals cap. (A few minutes later, she clarifies that she has no idea if baseball is even happening right now.)\u003c/p>\n\u003cp>“I’m glad to know who I am, and I’m grateful for the experiences that helped me grow,” she says, gathering her things to walk back across the garden before it starts raining again, to get home in time for her virtual parent-teacher conference. “Like, okay, so I’ve had a broken heart. Cry about it all you want, but then what?”\u003c/p>\n\u003cp>“Either you’re gonna love as much as you can before you die, or you’re not. So what’s it gonna be?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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 floatright]\u003c/p>\n\u003cp>\u003cem>Amina Shareef Ali releases ‘In the Dark (Awake of Course)’ on Monday, March 29, with a live interview and listening party at 6pm. \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Amina Shareef Ali Comes Back to Life | KQED",
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"subhead": "On 'In the Dark (Awake of Course),' the Oakland singer-songwriter accounts for seismic personal shifts — and lands on the other side with some stories to tell.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland’s Morcom Rose Garden is beautiful, a floral oasis in the middle of the city, and it’s also a short walk from \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amina Shareef Ali\u003c/a>’s place, so it makes sense that it’s been a backdrop for some of the singer-songwriter’s most memorable moments over the past few years.\u003c/p>\n\u003cp>Sometimes those experiences only became poignant in retrospect—like the time she did a tarot reading with a soon-to-be-ex over there on the concrete steps, she tells me on a recent drizzly Wednesday, as she points across the garden. “And as far as I knew, everything was peachy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13894477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Cover_.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Within weeks, the relationship would fall apart, leaving Ali grappling with heartbreak of a magnitude she’d never known—and providing, as breakups are wont to do, the inspiration for a slew of new music. \u003ca href=\"https://aminashareefali.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In the Dark (Awake of Course)\u003c/em>\u003c/a>, out Monday, March 29, is a collection of earnest folk-punk songs about grief, acceptance, and the decision that life is worth living, even when all available evidence points to the contrary.\u003c/p>\n\u003cp>It’s also Ali’s first new record in seven years—a “gap in the resume,” she says, that she comes by honestly. Originally from St. Louis, Ali landed in the Bay Area in 2007 after studying music composition at Oberlin College, and has been a fixture in the local singer-songwriter circuit ever since. Her 2014 record \u003cem>A Place to Remember the Dead\u003c/em>, in particular, with its Occupy-era protest songs and playful odes to crushes, handily cemented her place in the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>In the Dark\u003c/em> is deeper, more nuanced, more vulnerable, with good reason. These songs span a period of time in which Ali experienced seismic shift after shift. She became a parent. She went back to school to become a therapist. And then she came out as a transgender woman.\u003c/p>\n\u003cp>“So when people are like, ‘What have you been up to?’” she says with a hint of a smile, “the answer is all of that.”\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/DnF3Oe2LdxY'\n title='//www.youtube.com/embed/DnF3Oe2LdxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time Brian Belknap saw Amina Shareef Ali play, it was at \u003ca href=\"https://www.sfchronicle.com/food/article/Hotel-Utah-is-not-your-average-open-mic-night-bar-12969717.php\" target=\"_blank\" rel=\"noopener noreferrer\">the Hotel Utah\u003c/a> in 2010, and she introduced a song called “Tucson” by talking about Arizona SB 1070, the controversial immigration legislation that critics saw as institutionalized racial profiling. Belknap, a longtime Bay Area musician and activist—who at the time was involved in the fight to make San Francisco a sanctuary city—was struck by her words.\u003c/p>\n\u003cp>“And then the next time I saw her was at a warehouse show where she was just running around making everyone spaghetti,” he recalls. “There’s a sense of community that I think is really foundational for everything she does.”\u003c/p>\n\u003cfigure id=\"attachment_13894475\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.Vert_.jpg\" alt=\"Amina Shareef Ali.\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.Vert_-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali. \u003ccite>(Rob Fatal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two became fast friends after that; a decade later, Belknap is one of a handful of longtime collaborators who contributed vocals to what is mostly a solo album; Ali plays guitars, percussion, harmonica and more on \u003cem>In the Dark\u003c/em>. That wasn’t always the plan: In early 2020, Ali had designs on a full-band record; she even rehearsed the band once before shelter in place rules hit. But scrapping that idea turned out to be liberating in another way.\u003c/p>\n\u003cp>“I learned more about recording myself, and it allowed me to experiment and be an amateur and not be apologetic about that,” says the songwriter, who has previously earned comparisons to Conor Oberst; here, she seems to channel early bedroom recordings by John Darnielle and Kimya Dawson, with vocals occasionally veering into something Nico-esque. “Which is something I think I lost during my early years of doing music, when I always felt like I had to demonstrate that I’m a serious musician. I always had something to prove.”\u003c/p>\n\u003cp>Indeed, there’s an audible sense of freedom and abandon on songs like “Ready 2 Love U,” a lo-fi appreciation for the potential-filled moment before the start of a new affair: “The water’s warm, but I’m only ankle deep / I don’t know what you look like when you cry, I wanna know what you look like when you sleep,” asserts Ali, before reminding herself: “My body wasn’t made not to be touched / I’m thirty-eight years old, and I’m ready to love you.”\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/dYHYiy7biv4'\n title='//www.youtube.com/embed/dYHYiy7biv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Elsewhere, she tells off a misogynist would-be paramour; paints pastoral scenes out of take-out smells and Sharpie tags at Oakland playgrounds; and borrows from her 6-year-old, Hazel — who has a co-writing credit on two different songs — with lyrics like “Some hearts are red like a dragonfruit / some hearts are purple like a grape.”\u003c/p>\n\u003cp>Unsurprisingly, given Ali’s day job, certain lyrics also dip into therapist-speak. There is sometimes a level of earnestness which is hard to imagine other people getting away with. Ali pulls it off because she’s also hilarious, and raunchy, and self-deprecating, and equally prone to tangents about radical politics and the latest parkour video she got obsessed with on YouTube.\u003c/p>\n\u003cp>“I’m really about honoring even the most minute details of experience,” says Ali. “Especially right now, when experience is so constrained: you can’t see friends; you can’t hug anyone outside your pod; oh, now the air’s full of smoke so you can’t go outside. You can’t do jack shit, so what can we do with what is here? What meaning can we derive from this? Because this meaning ain’t gonna make itself.”\u003c/p>\n\u003cfigure id=\"attachment_13894474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Amina.forest-800x527.jpg\" alt=\"Amina Shareef Ali in 2017.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Amina.forest.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amina Shareef Ali in 2017. \u003ccite>(Eva Wo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Brett and Elizabeth Cline first founded the \u003ca href=\"https://www.thelostchurch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lost Church\u003c/a> in 2011, they expected the homey room, tucked inside a Mission District building designed by renowned architect David Ireland, to be a place for theater—small-scale, experimental musicals put on by their friends. But word got out fast about the charming, funky space. It wasn’t long before the singer-songwriter community, ever hungry for quiet rooms, claimed it as their own.\u003c/p>\n\u003cp>“It was sort of a ‘If you build it, they will come,’ situation, and Amina was one of the very first people who came,” remembers Brett a decade later. He’s still not even sure how she heard about the place, but he knows her shows “opened the floodgates” for other singer-songwriters to want to play there.\u003c/p>\n\u003cp>“I remember her showing up as this skinny, righteous, idealistic kid in a cowboy hat, and I learned that she had done a tour where she just went on trains for a month with her guitar. And thinking, ‘OK, that’s awesome. That’s legit.’ And her music was raw, very honest, vulnerable, authentic. There was never a made-up persona or a shield. She laid it all out on the line. And on the stage.”\u003c/p>\n\u003cp>The stage has also been the very literal place where Ali has, over the past four years, come out—often writing and singing her way through formative moments in her transition, as with the cheeky country song “Farewell to My Man.”\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/_piJIo5vGSA'\n title='//www.youtube.com/embed/_piJIo5vGSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the most part, she has been pleasantly surprised by people in the music community whose reactions she was nervous about. And she’s enjoyed ongoing support from a tight-knit chosen family of queer artists in Oakland—chief among them, her longtime partner and co-parent, Sil.\u003c/p>\n\u003cp>Which is not to say it’s all been easy. On the contrary, one doesn’t need to read between the lines on \u003cem>In the Dark\u003c/em> to hear signs that its narrator may have very well been to hell and back.\u003c/p>\n\u003cp>And that’s likely one reason the record feels so perfectly timed, as we round the bend on a year of isolation, anxiety, and grief: it’s the “and back” part that counts. Indeed, Ali names “I Came Back to Life” as perhaps the most important track on the record:\u003c/p>\n\u003cblockquote>\u003cp>I never been the one that quits, no I’m the one that does CPR for 45 minutes\u003cbr>\nBut once you’ve broken all the ribs, girl, you gotta admit that this love is finished\u003cbr>\nthere’s some things that you can’t bring back\u003cbr>\nthere’s some things that you can’t revive\u003cbr>\nafter all, life didn’t come back to me, no\u003cbr>\nI came back to life\u003c/p>\u003c/blockquote>\n\u003cp>“There was a time when all I could think about was trying to regain something that I lost. But now I’m not sad about any of that anymore,” she says, pausing to toss an instinctive “Go Cards” at a passing dad in a St. Louis Cardinals cap. (A few minutes later, she clarifies that she has no idea if baseball is even happening right now.)\u003c/p>\n\u003cp>“I’m glad to know who I am, and I’m grateful for the experiences that helped me grow,” she says, gathering her things to walk back across the garden before it starts raining again, to get home in time for her virtual parent-teacher conference. “Like, okay, so I’ve had a broken heart. Cry about it all you want, but then what?”\u003c/p>\n\u003cp>“Either you’re gonna love as much as you can before you die, or you’re not. So what’s it gonna be?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Amina Shareef Ali releases ‘In the Dark (Awake of Course)’ on Monday, March 29, with a live interview and listening party at 6pm. \u003ca href=\"https://aminashareefali.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nina Simone, Mary Lou Williams Celebrated in Healdsburg Jazz Event",
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"content": "\u003cp>For Women’s History Month, the Healdsburg Jazz Festival presents \u003cem>Convergence\u003c/em>, a virtual concert event celebrating iconic musicians Mary Lou Williams and Nina Simone through an imagined depiction of their first meeting.\u003c/p>\n\u003cp>The concert recounts a fictitious meeting of Williams and Simone in a lobby in Paris. When their paths cross, both artists are about to be honored by the French government with the National Order of Merit awards. Featuring original music in addition to renditions of the pair’s most well-known songs interwoven with dialogue and commentary, the event celebrates the cultural and musical contributions of the two artists. \u003c/p>\n\u003cp>Both Williams and Simone began playing the piano at around the age of three as children born to large families in the American south. While Williams was Simone’s senior by over two decades and their careers differed greatly, the two played during overlapping time periods. Both produced expansive bodies of work.[aside postID='arts_13885595']\u003c/p>\n\u003cp>\u003cem>Convergence\u003c/em> features contemporary pianists Victoria Theodore in the role of Nina Simone and Tammy L. Hall in the role of Mary Lou Williams. Hall is also the Healdsburg Jazz 2021 Artist in Residence, and has been playing piano since the age of four. Her career as a pianist, composer, and educator brought her from her hometown of Dallas, Texas to the Bay Area in 1979. \u003c/p>\n\u003cp>Her co-star Theodore began her journey as a pianist and singer in her teens as part of the UC Berkeley Young Musicians Program and the Oakland Youth Chorus, and in 2016 joined Beyoncé’s Formation World Tour as a keyboardist. Theodore also contributes original music to \u003cem>Convergence\u003c/em>. Hall and Theodore are joined onstage by bassist Ruth Davies and drummer Sylvia Cuenca, as well as Oakland-born Grammy-nominated spoken word artist RyanNicole Austin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Kevin Johnson and filmed at Opus Studios in Oakland, the concert also serves as an educational asset. Healdsburg Jazz has created an original resource guide celebrating the contributions of women to the evolution and history of jazz music as well as a compilation of photos, interviews, and other educational materials in tandem with the \u003cem>Convergence\u003c/em> concert event. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>‘Convergence’ airs Wednesday, March 31 at 7pm. Tickets start at $10; a “Dinner Show To Go for Four” package with dinner for four from Spoonbar is available for $200. \u003ca href=\"https://healdsburgjazz.org/convergence-video-concert/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Women’s History Month, the Healdsburg Jazz Festival presents \u003cem>Convergence\u003c/em>, a virtual concert event celebrating iconic musicians Mary Lou Williams and Nina Simone through an imagined depiction of their first meeting.\u003c/p>\n\u003cp>The concert recounts a fictitious meeting of Williams and Simone in a lobby in Paris. When their paths cross, both artists are about to be honored by the French government with the National Order of Merit awards. Featuring original music in addition to renditions of the pair’s most well-known songs interwoven with dialogue and commentary, the event celebrates the cultural and musical contributions of the two artists. \u003c/p>\n\u003cp>Both Williams and Simone began playing the piano at around the age of three as children born to large families in the American south. While Williams was Simone’s senior by over two decades and their careers differed greatly, the two played during overlapping time periods. Both produced expansive bodies of work.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by Kevin Johnson and filmed at Opus Studios in Oakland, the concert also serves as an educational asset. Healdsburg Jazz has created an original resource guide celebrating the contributions of women to the evolution and history of jazz music as well as a compilation of photos, interviews, and other educational materials in tandem with the \u003cem>Convergence\u003c/em> concert event. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>‘Convergence’ airs Wednesday, March 31 at 7pm. Tickets start at $10; a “Dinner Show To Go for Four” package with dinner for four from Spoonbar is available for $200. \u003ca href=\"https://healdsburgjazz.org/convergence-video-concert/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Got Your Proof of Vaccine for the Theater? It Could Be Required | KQED",
"content": "\u003cp>For the past year, Bay Area theatergoers have subsisted on \u003ca href=\"https://www.kqed.org/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come\" rel=\"noopener noreferrer\" target=\"_blank\">digital programming\u003c/a> and crossed their fingers for a post-pandemic “new normal” to reinstate live indoor performances. As \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">vaccinations\u003c/a> increase across California, so does optimism about the safety of eventually returning to theater venues—but it’s possible patrons will have to prove they’ve been vaccinated in exchange for entry. \u003c/p>\n\u003cp>“Vaccine passports” are already a reality in New York: \u003ca href=\"https://www.bostonglobe.com/2021/03/10/business/been-vaccinated-you-may-have-prove-it/\" rel=\"noopener noreferrer\" target=\"_blank\">at both Barclays Center and Madison Square Garden\u003c/a>, attendees are currently required to present an app or QR code that shows they’ve either been vaccinated or tested negative for COVID-19 within the previous 72 hours. \u003ca href=\"https://www.nytimes.com/2021/02/18/world/middleeast/israel-covid-vaccine-reopen.html\" rel=\"noopener noreferrer\" target=\"_blank\">Israel\u003c/a> has incorporated a “Green Badge” system that limits leisure activities to vaccinated individuals, and the \u003ca href=\"https://www.seattletimes.com/life/travel/eu-announces-plans-for-digital-covid-19-vaccine-passport/\" rel=\"noopener noreferrer\" target=\"_blank\">European Union\u003c/a>’s version of vaccine passports will allow people who have gotten jabs to travel more freely between member countries.\u003c/p>\n\u003cp>Currently, this question remains a hypothetical one for Bay Area theaters. According to the \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Dimmer-Framework-September_2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">California Department of Health’s March 11 update\u003c/a> on its reopening framework, indoor performances won’t be permitted until each county passes out of the colored tier system entirely, and the required modifications for those events are still forthcoming. In the meantime, theaters are left to consider if they’d be receptive to implementing vaccine requirements, especially in light of the ethical and logistical questions they raise.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theatre.Mask_.jpg\" alt=\"\" width=\"724\" height=\"482\" class=\"aligncenter size-full wp-image-13894376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_.jpg 724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_-160x107.jpg 160w\" sizes=\"(max-width: 724px) 100vw, 724px\">\u003c/p>\n\u003cp>“Frankly, I consider it an intrusion of privacy,” says Stephanie Weisman, executive and artistic director of \u003ca href=\"https://themarsh.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Marsh\u003c/a>. “To have people show a card to come into a little theater like The Marsh, which is all about social justice and authentic, intimate voices? It feels very, very intrusive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weisman’s concerns are not unfounded, but legally challenging vaccine passport policies on privacy grounds will be tricky. Medical information in the United States is currently protected by the Health Insurance Portability and Accountability Act, or HIPAA, which prevents healthcare providers from disclosing sensitive patient information without the patient’s consent. But \u003ca href=\"https://finance.yahoo.com/news/vaccine-passports-complicated-united-states-145810837.html\" rel=\"noopener noreferrer\" target=\"_blank\">HIPAA does not apply to private businesses\u003c/a> like performance venues—so there’s \u003ca href=\"http://www.fordhamiplj.org/2020/11/12/the-legality-of-coronavirus-immunity-passports-and-related-concerns/\" rel=\"noopener noreferrer\" target=\"_blank\">currently no law\u003c/a> preventing such entities from verifying someone’s vaccination status.\u003c/p>\n\u003cp>Meanwhile, charges of discrimination might likely hold more water. \u003ca href=\"https://www.statnews.com/2021/02/11/covid19-vaccination-rates-follow-the-money-in-states-with-biggest-wealth-gaps/\" rel=\"noopener noreferrer\" target=\"_blank\">Disparities in vaccination rates\u003c/a> suggest that wealthy, white Americans are getting inoculated before lower-income citizens and people of color. Immunity requirements could exacerbate these societal gaps. \u003c/p>\n\u003cp>Weisman admits that she might end up weighing these issues against her desire to see her theater reopen. She’s proud of the community that has sprung up around the theater’s online arm, MarshStream, but it’s no substitute for the genuine article: “How does a performer relate to an audience through a digital stream, when it’s so much about any performer’s relationship to seeing people and seeing their reactions?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/boxoffice-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13894369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice.jpg 1255w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Daniel Thomas, a co-executive director of San Francisco’s \u003ca href=\"https://42ndstmoon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">42nd Street Moon\u003c/a>, envisions a balanced approach to restoring this intimacy. “We can’t demand or require that they show us proof of vaccination, but we can ask that they provide that if they’re comfortable with it,” says Thomas, citing additional supplementary safety measures such as masks, temperature checks, contact tracing information and fewer performances to allow time for cleaning. \u003c/p>\n\u003cp>Any such proposal, of course, will have to be scrapped if the state mandates that theaters verify vaccinations at the door, an uncertainty that’s kindling frustration as companies attempt to plan their very tentative fall seasons. “The regulations for live theater have always been kind of an afterthought,” says Thomas. \u003c/p>\n\u003cp>“Our state is being very specific about where we fall,” echoes \u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Company\u003c/a> artistic director Jasson Minadakis. “If that changes, then we’re going to have to start thinking about those moral questions.”\u003c/p>\n\u003cp>Minadakis acknowledges the “waiting game” of trying to forecast state guidelines when live theater—which typically packs people together indoors for the length of a few acts and an intermission—will be last in the reopening line. Vaccine passports like those required in New York could possibly be on the table, but he won’t commit to pursuing any policy before the government confirms it’s necessary. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/VaccineProof-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13894374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof.jpg 1116w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Khori Dastoor, \u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>’s general director, fires off a list of measures she’d incorporate before certifying audiences’ vaccine credentials. The company plans to trade out longer opera programming, some of which clocks in at over three hours, for truncated, socially distanced outdoor performances. \u003c/p>\n\u003cp>Dastoor says those steps will be easier than checking every audience member’s vaccination status. “It’s a lot to ask of our ushers,” Dastoor says. “It’s a big promise to make to our patrons that we can, with confidence, assure them that every single person in the auditorium has provided some sort of proof.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.berkeleyrep.org/index.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>’s audiences have shown that they might respond favorably to that kind of assurance, based on the results of a survey sent out to subscribers and single ticket buyers. According to managing director Susie Medak, respondents indicated that the most important factors for returning to the theater were getting vaccinated themselves and knowing that others were vaccinated, too. Over 60% of survey takers said they hoped Berkeley Rep would require vaccinations for participation.\u003c/p>\n\u003cp>Medak is willing to enact these rules if it makes guests safer, but she anticipates inevitable controversies that could incite a rocky reaction from the wider public. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know that this is exactly what many of our people really want to hear,” Medak says. “And I’m sure there are also people who are just going to be outraged.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past year, Bay Area theatergoers have subsisted on \u003ca href=\"https://www.kqed.org/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come\" rel=\"noopener noreferrer\" target=\"_blank\">digital programming\u003c/a> and crossed their fingers for a post-pandemic “new normal” to reinstate live indoor performances. As \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">vaccinations\u003c/a> increase across California, so does optimism about the safety of eventually returning to theater venues—but it’s possible patrons will have to prove they’ve been vaccinated in exchange for entry. \u003c/p>\n\u003cp>“Vaccine passports” are already a reality in New York: \u003ca href=\"https://www.bostonglobe.com/2021/03/10/business/been-vaccinated-you-may-have-prove-it/\" rel=\"noopener noreferrer\" target=\"_blank\">at both Barclays Center and Madison Square Garden\u003c/a>, attendees are currently required to present an app or QR code that shows they’ve either been vaccinated or tested negative for COVID-19 within the previous 72 hours. \u003ca href=\"https://www.nytimes.com/2021/02/18/world/middleeast/israel-covid-vaccine-reopen.html\" rel=\"noopener noreferrer\" target=\"_blank\">Israel\u003c/a> has incorporated a “Green Badge” system that limits leisure activities to vaccinated individuals, and the \u003ca href=\"https://www.seattletimes.com/life/travel/eu-announces-plans-for-digital-covid-19-vaccine-passport/\" rel=\"noopener noreferrer\" target=\"_blank\">European Union\u003c/a>’s version of vaccine passports will allow people who have gotten jabs to travel more freely between member countries.\u003c/p>\n\u003cp>Currently, this question remains a hypothetical one for Bay Area theaters. According to the \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Dimmer-Framework-September_2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">California Department of Health’s March 11 update\u003c/a> on its reopening framework, indoor performances won’t be permitted until each county passes out of the colored tier system entirely, and the required modifications for those events are still forthcoming. In the meantime, theaters are left to consider if they’d be receptive to implementing vaccine requirements, especially in light of the ethical and logistical questions they raise.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theatre.Mask_.jpg\" alt=\"\" width=\"724\" height=\"482\" class=\"aligncenter size-full wp-image-13894376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_.jpg 724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_-160x107.jpg 160w\" sizes=\"(max-width: 724px) 100vw, 724px\">\u003c/p>\n\u003cp>“Frankly, I consider it an intrusion of privacy,” says Stephanie Weisman, executive and artistic director of \u003ca href=\"https://themarsh.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Marsh\u003c/a>. “To have people show a card to come into a little theater like The Marsh, which is all about social justice and authentic, intimate voices? It feels very, very intrusive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weisman’s concerns are not unfounded, but legally challenging vaccine passport policies on privacy grounds will be tricky. Medical information in the United States is currently protected by the Health Insurance Portability and Accountability Act, or HIPAA, which prevents healthcare providers from disclosing sensitive patient information without the patient’s consent. But \u003ca href=\"https://finance.yahoo.com/news/vaccine-passports-complicated-united-states-145810837.html\" rel=\"noopener noreferrer\" target=\"_blank\">HIPAA does not apply to private businesses\u003c/a> like performance venues—so there’s \u003ca href=\"http://www.fordhamiplj.org/2020/11/12/the-legality-of-coronavirus-immunity-passports-and-related-concerns/\" rel=\"noopener noreferrer\" target=\"_blank\">currently no law\u003c/a> preventing such entities from verifying someone’s vaccination status.\u003c/p>\n\u003cp>Meanwhile, charges of discrimination might likely hold more water. \u003ca href=\"https://www.statnews.com/2021/02/11/covid19-vaccination-rates-follow-the-money-in-states-with-biggest-wealth-gaps/\" rel=\"noopener noreferrer\" target=\"_blank\">Disparities in vaccination rates\u003c/a> suggest that wealthy, white Americans are getting inoculated before lower-income citizens and people of color. Immunity requirements could exacerbate these societal gaps. \u003c/p>\n\u003cp>Weisman admits that she might end up weighing these issues against her desire to see her theater reopen. She’s proud of the community that has sprung up around the theater’s online arm, MarshStream, but it’s no substitute for the genuine article: “How does a performer relate to an audience through a digital stream, when it’s so much about any performer’s relationship to seeing people and seeing their reactions?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/boxoffice-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13894369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice.jpg 1255w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Daniel Thomas, a co-executive director of San Francisco’s \u003ca href=\"https://42ndstmoon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">42nd Street Moon\u003c/a>, envisions a balanced approach to restoring this intimacy. “We can’t demand or require that they show us proof of vaccination, but we can ask that they provide that if they’re comfortable with it,” says Thomas, citing additional supplementary safety measures such as masks, temperature checks, contact tracing information and fewer performances to allow time for cleaning. \u003c/p>\n\u003cp>Any such proposal, of course, will have to be scrapped if the state mandates that theaters verify vaccinations at the door, an uncertainty that’s kindling frustration as companies attempt to plan their very tentative fall seasons. “The regulations for live theater have always been kind of an afterthought,” says Thomas. \u003c/p>\n\u003cp>“Our state is being very specific about where we fall,” echoes \u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Company\u003c/a> artistic director Jasson Minadakis. “If that changes, then we’re going to have to start thinking about those moral questions.”\u003c/p>\n\u003cp>Minadakis acknowledges the “waiting game” of trying to forecast state guidelines when live theater—which typically packs people together indoors for the length of a few acts and an intermission—will be last in the reopening line. Vaccine passports like those required in New York could possibly be on the table, but he won’t commit to pursuing any policy before the government confirms it’s necessary. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/VaccineProof-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13894374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof.jpg 1116w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Khori Dastoor, \u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>’s general director, fires off a list of measures she’d incorporate before certifying audiences’ vaccine credentials. The company plans to trade out longer opera programming, some of which clocks in at over three hours, for truncated, socially distanced outdoor performances. \u003c/p>\n\u003cp>Dastoor says those steps will be easier than checking every audience member’s vaccination status. “It’s a lot to ask of our ushers,” Dastoor says. “It’s a big promise to make to our patrons that we can, with confidence, assure them that every single person in the auditorium has provided some sort of proof.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.berkeleyrep.org/index.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>’s audiences have shown that they might respond favorably to that kind of assurance, based on the results of a survey sent out to subscribers and single ticket buyers. According to managing director Susie Medak, respondents indicated that the most important factors for returning to the theater were getting vaccinated themselves and knowing that others were vaccinated, too. Over 60% of survey takers said they hoped Berkeley Rep would require vaccinations for participation.\u003c/p>\n\u003cp>Medak is willing to enact these rules if it makes guests safer, but she anticipates inevitable controversies that could incite a rocky reaction from the wider public. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know that this is exactly what many of our people really want to hear,” Medak says. “And I’m sure there are also people who are just going to be outraged.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Soul legend \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> received the television-miniseries treatment with \u003cem>Genius: Aretha\u003c/em>, a project that works best when it lets her music do the talking.\u003c/p>\n\u003cp>Cynthia Erivo plays Aretha who, moments into the start of \u003cem>Genius\u003c/em>, makes it clear that they found the right woman for this job. Recreating the tumultuous life of Aretha Franklin requires more, however, than just singing her classic hits with power and excitement. It requires revisiting a life filled with trauma and challenges, as foreshadowed by journalists questioning Franklin on who “calls the shots,” her father or her husband, at a press conference (to which she responds, “I think you’ve all been reading a few too many gossip columns”).\u003c/p>\n\u003cp>She learns to free herself from the men in her life determined to dominate her, beginning with her father, renowned Baptist preacher and civil rights activist the Rev. C.L. Franklin. Courtney B. Vance is magnetic as the elder Franklin, a preacher who, one character says, “loved Sunday morning \u003cem>and\u003c/em> Saturday night.” In one scene, he’s urging a tween-age Aretha to sing at a house party before \u003ca href=\"https://www.npr.org/artists/15196957/art-tatum\" target=\"_blank\" rel=\"noopener noreferrer\">Art Tatum\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\" target=\"_blank\" rel=\"noopener noreferrer\">Dinah Washington\u003c/a>. But the Rev. Franklin is also shown as a compulsive womanizer, confronted by his girlfriend—who Aretha had grown to love, hoping she would become her stepmom.\u003c/p>\n\u003cp>A fight over infidelity followed by violence is a cycle we see repeated with Aretha and her husband Ted, after he ruins a recording session by fighting in the studio. “You were supposed to be good as gold,” Aretha says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjw3-JMm5Sc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite crackling performances from Erivo, Vance and the actress who plays young Aretha, Shaian Jordan, \u003cem>Genius: Aretha\u003c/em> too often unfolds like a predictable biopic burdened by ham-handed storytelling.\u003c/p>\n\u003cp>It’s the third installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series, but the first about a woman or a non-white person, following seasons on Albert Einstein and Pablo Picasso. So, some may be disappointed in how it presents a succession of Black men who take advantage of Franklin, from her philandering father, to her philandering husband, to a man who left her pregnant at age 12.\u003c/p>\n\u003cp>The best moments involve showing how Franklin transitioned from gospel star to soul diva. That includes a scene where producer, songwriter and performer Curtis Mayfield urges her to channel her tribulations into her vocals in the studio: “You move people; you take the heaviness of life and you make it beautiful. We need \u003cem>that\u003c/em>.”\u003c/p>\n\u003cp>Aretha sings again, but this time pouring herself out over a swaying track called “Something He Can Feel.” If more moments in \u003cem>Genius: Aretha\u003c/em> matched this one, it would truly be the triumph Erivo and the Queen of Soul deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Genius: Aretha\u003cem> debuts this Sunday, March 21, on the National Geographic channel.\u003c/em>\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=Aretha+Franklin+Shines+In%2C+And+Despite%2C+The+New+Miniseries%2C+%27Genius%3A+Aretha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Opera Philadelphia has, of course, spent the last year unable to stage live works in theaters. In response, they started creating original works written for the camera, to be shared and viewed online as part of an ongoing effort to bring a wider range of voices into the repertory. [aside postid='arts_13893676']\u003c/p>\n\u003cp>“Our focus was not doing a pandemic Band-Aid. We needed to make this artistic expression that lived in its own right digitally,” says David Devan, the company’s general director. “For that reason, we don’t see it going away. We see it augmenting our in-real-life performances.” Opera Philadelphia has been using its \u003ca href=\"https://www.operaphila.org/festival/opera-philadelphia-channel/\" target=\"_blank\" rel=\"noopener noreferrer\">new digital channel\u003c/a> to try and expand the canon of contemporary opera, featuring work from Black composers like \u003ca href=\"https://www.npr.org/artists/113090823/tyshawn-sorey\" target=\"_blank\" rel=\"noopener noreferrer\">Tyshawn Sorey\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=dsSENWpYqFw\" target=\"_blank\" rel=\"noopener noreferrer\">Courtney Bryan\u003c/a>, and Latina composers like Angélica Negrón, who composed the company’s newest from the project, \u003cem>The Island We Made\u003c/em>, which debuts today.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g7WGgRcSb3w\u003c/p>\n\u003cp>\u003cem>The Island We Made\u003c/em> is a lullaby about mothers, an homage to the labor of childrearing. The lyrics are repetitive: \u003cem>my lungs\u003c/em>, \u003cem>your voice\u003c/em>, \u003cem>you made me\u003c/em>, \u003cem>you fed me\u003c/em>. The music was written by composer \u003ca href=\"https://www.npr.org/2019/12/20/786539476/bal-n-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Angélica Negrón\u003c/a>, who grew up in Puerto Rico in the ’80s. Negrón says that her mother had many friends who were drag performers, so high glamour and high drama were regular parts of her childhood. “Just the immensity and the confidence of them, unapologetic, taking up space, for me was really impactful as a child to have around,” Negrón says. [aside postid='pop_108023']\u003c/p>\n\u003cp>To some, \u003cem>The Island We Made\u003c/em> may not look or sound like opera; there is no storyline in the video, filmed by Matthew Placek, or point at which a singer belts their feelings out to the rafters. In fact, the character we see isn’t even singing—in characteristic drag fashion, Sasha Velour is lip-synching to the voice of an unseen singer, the musician Eliza Bagg.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Island We Made\u003c/em> does share one important aspect with traditional opera—an enormity of feeling. Negrón and Velour wrote it together, around the theme of mother-daughter relationships. Velour recalls speaking to Negrón about their experiences with mothers—Velour keeps her head shaved, and often performs without a wig, in tribute to her mother—about care and of all the ways relationships can be formed in gestures and silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s silence involved there, because my mother’s passed,” says Velour, whose mother lost her hair to chemotherapy. “I can’t speak with her, but I do think about creating space for that relationship in different ways. My drag is a part of that.”\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=%27The+Island+We+Made%27%3A+Lip-Sync+Opera+And+High+Drag+Sing+An+Ode+To+Mothers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Island We Made\u003c/em> does share one important aspect with traditional opera—an enormity of feeling. Negrón and Velour wrote it together, around the theme of mother-daughter relationships. Velour recalls speaking to Negrón about their experiences with mothers—Velour keeps her head shaved, and often performs without a wig, in tribute to her mother—about care and of all the ways relationships can be formed in gestures and silence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s silence involved there, because my mother’s passed,” says Velour, whose mother lost her hair to chemotherapy. “I can’t speak with her, but I do think about creating space for that relationship in different ways. My drag is a part of that.”\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=%27The+Island+We+Made%27%3A+Lip-Sync+Opera+And+High+Drag+Sing+An+Ode+To+Mothers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>anyel Smith, one of the premier writers on American culture over the past three decades, tells me the goal of her new podcast series \u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Girl Songbook\u003c/em>\u003c/a> is best exemplified by something that happened in a recent episode.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Last week’s chapter, “\u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr?si=ya5JzRYZQk25gTBnXJULCg\" target=\"_blank\" rel=\"noopener noreferrer\">The Diss-Education of Lauryn Hill\u003c/a>,” took listeners into the world of diss tracks through Smith’s appreciation of Lauryn Hill’s classic “Lost Ones.” As a bit of an aside, Smith asks one of her guests, legendary lyricist MC Lyte, if her speaking voice is the same as her regular voice.\u003c/p>\n\u003cp>MC Lyte tells Smith no—that she only uses her real voice when she’s at home, in the company of family. Lyte, the voice of so many big-name events, commercials, and classic songs, says no one had ever asked her that before.\u003c/p>\n\u003cp>“No one ever asks Black women questions,” says Smith, who boasts a resume showing she knows a thing or two about asking questions. She’s served as editor-at-large at Time Inc., editor at Billboard, and twice as the editor-in-chief of Vibe, where she was both the first African-American and first woman to hold that position.\u003c/p>\n\u003cp>Smith has made a career out of asking athletes, entertainers and specifically Black women in hip-hop and R&B the questions no one else asks them. And with her latest endeavor, as well as her forthcoming book \u003cem>\u003ca href=\"https://www.amazon.com/Shine-Bright-Personal-History-Black/dp/0593132718\" target=\"_blank\" rel=\"noopener noreferrer\">Shine Bright: A Personal History of Black Women in Pop\u003c/a>,\u003c/em> she’s looking to ask more questions and share some of her own stories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BUErg6Shwrz/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith’s story, like most good stories, begins in Oakland.\u003c/p>\n\u003cp>Smith attended Bella Vista Elementary School, and took summer school classes at my own alma mater, Edna M. Brewer Middle School (formerly McChesney Junior High). And though she moved to Los Angeles for high school, she says, the lessons she learned in the Town stayed with her to this day.\u003c/p>\n\u003cp>Growing up, Smith lived across the street from Highland Hospital, on Vallecito Place. Smith also spent time on 31st Street, 13th Avenue and East 24th Street in a neighborhood alternately known as the Twomps, Rollin’ Twenties or Murder Dubbs. That’s the same neighborhood that brought the world longtime journalist and MTV host \u003ca href=\"https://vimeo.com/193387173\" target=\"_blank\" rel=\"noopener noreferrer\">Sway Calloway\u003c/a>.\u003c/p>\n\u003cp>“First of all,” Smith says to me in that tone that’s both joyous and serious, “Sway’s mom and my mom knew each other at Fremont High School.”\u003c/p>\n\u003cp>Smith sincerely values her Oakland roots. On one episode of \u003cem>Black Girl Songbook\u003c/em> she mentions picking blackberries in her great-grandparents’ backyard on 83rd Avenue near East 14th Street. She remembers complaining, “But gram, there’s wasps!”—and getting the advice from her elder, “Well, move quickly.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BCvWCrbyxzT/\u003c/p>\n\u003cp>In addition to family, she soaked up culture from the community. “\u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">SoulBeat\u003c/a> was a lifeline,” Smith says, audibly clapping against a hard surface in the background as she references the old music videos and small-business commercials the Black-owned television station used to air. “It was A. Life. Line.”\u003c/p>\n\u003cp>A music fanatic since the time she saw the Jackson Five perform at the Circle Star Theatre in San Carlos as a kid, Smith eventually gravitated toward hip-hop, which was coming of age just as she was.\u003c/p>\n\u003cp>While San Francisco’s KMEL was pivoting from being an “album oriented rock” radio station to an “urban” station, Smith found culture in the margins: on late-night pirate radio stations and at clubs like the Stargaze in Fremont.\u003c/p>\n\u003cp>During her first stint in college at UC Berkeley, Smith tells me, she’d sweat out the entirety of her hairdo while dancing at parties where a guy named DJ Davey D was on the ones and twos. “All of (Davey D’s) community work over the years is legendary,” says Smith of KPFA’s \u003ca href=\"https://kpfa.org/program/hard-knock-radio/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard Knock Radio\u003c/a> host Davey D. “But let’s not forget that he really did have a reputation in the ’80s for DJing the best parties in all of the Bay Area.”\u003c/p>\n\u003cp>Smith knows about partying. “Back then, I was running around with Digital Underground… I was in these streets,” says Smith, laughing after stressing \u003cem>streets\u003c/em> and bringing back that joyous-yet-serious tone. “People are always like, ‘You were friends with 2Pac?’ I’m like, ‘I was actually friends with \u003cem>Tupac Shakur\u003c/em>.'”\u003c/p>\n\u003cfigure id=\"attachment_13894182\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-1.jpg\" alt=\"Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1-160x213.jpg 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993. \u003ccite>(Carl Posey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a self-described creative Black girl with hustle, Smith worked at a copy store on Oakland’s Piedmont Avenue when she was younger, and later at a more posh position at Saks Fifth Avenue in San Francisco. But writing was calling her.\u003c/p>\n\u003cp>“I got into journalism because of the murder rate in Oakland,” says Smith, speaking candidly about what was happening around her in 1992—the drugs and violence—and how that year became known for the \u003ca href=\"https://crime-data-explorer.fr.cloud.gov/explorer/agency/CA0010900/crime\" target=\"_blank\" rel=\"noopener noreferrer\">highest number of homicides\u003c/a> Oakland has ever tallied. “I was so tired of the local news counting murders like people were animals,” says Smith.\u003c/p>\n\u003cp>With the assistance of former \u003cem>San Francisco Bay Guardian\u003c/em> Arts Editor Tommy Tompkins and former \u003cem>SF Weekly\u003c/em> Music Editor \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">Ann K. Powers,\u003c/a> she got into the game. “This was when the alternative weeklies of the Bay Area were very helpful,” says Smith, also shouting out \u003cem>LA Weekly\u003c/em> and New York’s \u003cem>Village Voice\u003c/em>. “In many cases, they extended a hand to people of color to get them started writing. I miss those days.”\u003c/p>\n\u003cp>Smith’s call up to the major leagues came through Bill Adler, founding member of Def Jam, longtime journalist and namesake of the \u003ca href=\"https://digital.library.cornell.edu/catalog?f%5Bcollection_tesim%5D%5B%5D=Adler+Hip+Hop+Archive\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Hip-Hop Archive\u003c/a> at Cornell University. He informed Smith of an opening for the R&B Editor at \u003cem>Billboard\u003c/em>. Smith says she went to Oakland’s MacArthur-Broadway Mall (where Kaiser now stands) and got a suit that couldn’t have cost more than $40. “I made up my mind that I was going to get that job,” Smith recalls. “And that’s all she wrote.”\u003c/p>\n\u003cp>In all actuality, she was just getting started writing.\u003c/p>\n\u003cfigure id=\"attachment_13894183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-2-800x951.jpg\" alt=\"Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard's R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi.\" width=\"800\" height=\"951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2.jpg 1077w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard’s R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi. \u003ccite>(Courtesy of Danyel Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith landed big-name interviews with figures like \u003ca href=\"https://books.google.com/books?id=QCgEAAAAMBAJ&pg=PT15&lpg=PT15&dq=danyel+smith+Wesley+Snipes+billboard&source=bl&ots=Cw7IY0bx88&sig=ACfU3U01hWwrbxfYqzB72IPogFG4ONajLw&hl=en&sa=X&ved=2ahUKEwjeqY-6_LjvAhVFDDQIHRLrA0kQ6AEwEnoECAQQAw#v=onepage&q=danyel%20smith%20Wesley%20Snipes%20billboard&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Wesley Snipes,\u003c/a> and was one of the earliest reporters to investigate what eventually proved to be sex crimes committed by \u003ca href=\"https://books.google.com/books?id=dywEAAAAMBAJ&lpg=PA53&vq=kelly&pg=PA52#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>.\u003c/p>\n\u003cp>While Smith held her own, she admits she was “unpolished.” She took notes on how other women carried themselves and dressed, while at the same time, “I brought Oakland with me to every meeting. Good, bad, or otherwise.”\u003c/p>\n\u003cp>Smith tells me about a time an unnamed male boss told her he’d thought she was going to be too hood for the job. “But it seems like you’re doing OK,” Smith recalls him saying. It motivated Smith to dive deeper into her work. She credits a number of women, mentors, who took her under their wing and told her “not to drink out of the finger bowl at Mr. Chow’s.”\u003c/p>\n\u003cp>Because I’m looking clueless while hearing the story, Smith tells me a “finger bowl” is a little fancy container full of warm water for washing your hands at the table. \u003ca href=\"https://www.imdb.com/name/nm2312380/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Cassandra Mills\u003c/a>, the highly regarded manager, higher-up at Giant Records and force behind the success of the \u003cem>New Jack City\u003c/em> soundtrack, had to give Smith a gentle touch on the wrist to tell her not to drink it. “It had a lemon in it,” says Smith. “I was like, ‘Oh, lemon tea for me!’”\u003c/p>\n\u003cp>Years later, she’s not embarrassed about the interaction. “There’s no shame in not coming up around stuff like that,” says Smith, who knows others who’ve had to acclimate to the different world of Manhattan. “I married a guy, Ell, he’s from the projects in Queens. We’ll get through this together.”\u003c/p>\n\u003cp>Ell—or \u003ca href=\"https://twitter.com/ElliottWilson?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Elliott Wilson\u003c/a>, often referred to as the “GOAT” of hip-hop journalism—is the founder of Rap Radar and Chief Content Officer at Tidal.\u003c/p>\n\u003cp>Smith is transparent about their relationship: Wilson is her second husband, and their bond is a product of her taking time to heal from past relationships, Smith says, as well her being intentional about the things she truly wanted in life.\u003c/p>\n\u003cp>In her mid-30s, Smith took time away from work, went back to school and earned her undergraduate and masters degrees and also published a novel, \u003ca href=\"https://www.amazon.com/More-Like-Wrestling-Danyel-Smith/dp/0609809938\">\u003ci>More Like Wrestling,\u003c/i>\u003c/a> which is set in Oakland. She says one day she was at a friend’s birthday party and saw someone she’d known for a while, but had never looked at in \u003cem>that way\u003c/em>.\u003c/p>\n\u003cp>Smith and Wilson have now been married for 16 years.\u003c/p>\n\u003cp>http://www.instagram.com/p/3xkmu4Sx53/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hrough my conversation with Smith, and in listening to her podcast, it’s become pretty clear just how important relationships are to the stories she tells.\u003c/p>\n\u003cp>So far this season, she’s covered her relationship to Whitney Houston as a fan, Whitney’s romantic relationship with Bobby Brown, the sisterhood-esque relationship between Natalie Cole and Whitney Houston, and the familial relationship of Natalie Cole and her father, Nat King Cole.\u003c/p>\n\u003cp>Looking back at her work, it’s a mechanism Smith has used in multiple ways. In retelling the story of a \u003ca href=\"https://www.youtube.com/watch?v=M7r8T0e5icU\">confrontation with Foxy Brown,\u003c/a> she focused on a friendship that shouldn’t have been. \u003ca href=\"https://theundefeated.com/features/simone-biles-most-dominant-athlete-of-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">In writing about Simone Biles\u003c/a>, she focused on the gymnast’s relationship to her sport, as well as other elite athletes. And in one of her more moving pieces, Smith writes candidly about her relationship with herself, as she juxtaposes \u003ca href=\"https://www.npr.org/2020/11/11/933080759/sade-saves-lovers-rock-20th-career-retrospective\" target=\"_blank\" rel=\"noopener noreferrer\">her own growth with Sade’s musical catalog\u003c/a>.\u003c/p>\n\u003cp>“The definition of love in a relationship,” Smith says, “is contributing to the other person’s growth.”\u003c/p>\n\u003cp>Of course, she says, taking care of the other person and staying romantic are in the mix, but “if you’re going to be with a person a long time, you have to be into that person growing into who they’re going to be,” says Smith, “and they have to be into you growing into who you are going to be.”\u003c/p>\n\u003cp>The same philosophy on relationships continually shows up in her work: as the culture has grown, so has she.\u003c/p>\n\u003cp>“I’ve always felt that hip-hop, when I got into it, it was still a subculture,” Smith says. “It wasn’t getting the credit that it deserved for changing culture and changing the world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And as hip-hop, and for that matter Black American entertainment as a whole, continues to get its due credit for changing the world, so too should its key purveyors.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>anyel Smith, one of the premier writers on American culture over the past three decades, tells me the goal of her new podcast series \u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Girl Songbook\u003c/em>\u003c/a> is best exemplified by something that happened in a recent episode.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Last week’s chapter, “\u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr?si=ya5JzRYZQk25gTBnXJULCg\" target=\"_blank\" rel=\"noopener noreferrer\">The Diss-Education of Lauryn Hill\u003c/a>,” took listeners into the world of diss tracks through Smith’s appreciation of Lauryn Hill’s classic “Lost Ones.” As a bit of an aside, Smith asks one of her guests, legendary lyricist MC Lyte, if her speaking voice is the same as her regular voice.\u003c/p>\n\u003cp>MC Lyte tells Smith no—that she only uses her real voice when she’s at home, in the company of family. Lyte, the voice of so many big-name events, commercials, and classic songs, says no one had ever asked her that before.\u003c/p>\n\u003cp>“No one ever asks Black women questions,” says Smith, who boasts a resume showing she knows a thing or two about asking questions. She’s served as editor-at-large at Time Inc., editor at Billboard, and twice as the editor-in-chief of Vibe, where she was both the first African-American and first woman to hold that position.\u003c/p>\n\u003cp>Smith has made a career out of asking athletes, entertainers and specifically Black women in hip-hop and R&B the questions no one else asks them. And with her latest endeavor, as well as her forthcoming book \u003cem>\u003ca href=\"https://www.amazon.com/Shine-Bright-Personal-History-Black/dp/0593132718\" target=\"_blank\" rel=\"noopener noreferrer\">Shine Bright: A Personal History of Black Women in Pop\u003c/a>,\u003c/em> she’s looking to ask more questions and share some of her own stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith’s story, like most good stories, begins in Oakland.\u003c/p>\n\u003cp>Smith attended Bella Vista Elementary School, and took summer school classes at my own alma mater, Edna M. Brewer Middle School (formerly McChesney Junior High). And though she moved to Los Angeles for high school, she says, the lessons she learned in the Town stayed with her to this day.\u003c/p>\n\u003cp>Growing up, Smith lived across the street from Highland Hospital, on Vallecito Place. Smith also spent time on 31st Street, 13th Avenue and East 24th Street in a neighborhood alternately known as the Twomps, Rollin’ Twenties or Murder Dubbs. That’s the same neighborhood that brought the world longtime journalist and MTV host \u003ca href=\"https://vimeo.com/193387173\" target=\"_blank\" rel=\"noopener noreferrer\">Sway Calloway\u003c/a>.\u003c/p>\n\u003cp>“First of all,” Smith says to me in that tone that’s both joyous and serious, “Sway’s mom and my mom knew each other at Fremont High School.”\u003c/p>\n\u003cp>Smith sincerely values her Oakland roots. On one episode of \u003cem>Black Girl Songbook\u003c/em> she mentions picking blackberries in her great-grandparents’ backyard on 83rd Avenue near East 14th Street. She remembers complaining, “But gram, there’s wasps!”—and getting the advice from her elder, “Well, move quickly.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In addition to family, she soaked up culture from the community. “\u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">SoulBeat\u003c/a> was a lifeline,” Smith says, audibly clapping against a hard surface in the background as she references the old music videos and small-business commercials the Black-owned television station used to air. “It was A. Life. Line.”\u003c/p>\n\u003cp>A music fanatic since the time she saw the Jackson Five perform at the Circle Star Theatre in San Carlos as a kid, Smith eventually gravitated toward hip-hop, which was coming of age just as she was.\u003c/p>\n\u003cp>While San Francisco’s KMEL was pivoting from being an “album oriented rock” radio station to an “urban” station, Smith found culture in the margins: on late-night pirate radio stations and at clubs like the Stargaze in Fremont.\u003c/p>\n\u003cp>During her first stint in college at UC Berkeley, Smith tells me, she’d sweat out the entirety of her hairdo while dancing at parties where a guy named DJ Davey D was on the ones and twos. “All of (Davey D’s) community work over the years is legendary,” says Smith of KPFA’s \u003ca href=\"https://kpfa.org/program/hard-knock-radio/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard Knock Radio\u003c/a> host Davey D. “But let’s not forget that he really did have a reputation in the ’80s for DJing the best parties in all of the Bay Area.”\u003c/p>\n\u003cp>Smith knows about partying. “Back then, I was running around with Digital Underground… I was in these streets,” says Smith, laughing after stressing \u003cem>streets\u003c/em> and bringing back that joyous-yet-serious tone. “People are always like, ‘You were friends with 2Pac?’ I’m like, ‘I was actually friends with \u003cem>Tupac Shakur\u003c/em>.'”\u003c/p>\n\u003cfigure id=\"attachment_13894182\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-1.jpg\" alt=\"Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1-160x213.jpg 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993. \u003ccite>(Carl Posey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a self-described creative Black girl with hustle, Smith worked at a copy store on Oakland’s Piedmont Avenue when she was younger, and later at a more posh position at Saks Fifth Avenue in San Francisco. But writing was calling her.\u003c/p>\n\u003cp>“I got into journalism because of the murder rate in Oakland,” says Smith, speaking candidly about what was happening around her in 1992—the drugs and violence—and how that year became known for the \u003ca href=\"https://crime-data-explorer.fr.cloud.gov/explorer/agency/CA0010900/crime\" target=\"_blank\" rel=\"noopener noreferrer\">highest number of homicides\u003c/a> Oakland has ever tallied. “I was so tired of the local news counting murders like people were animals,” says Smith.\u003c/p>\n\u003cp>With the assistance of former \u003cem>San Francisco Bay Guardian\u003c/em> Arts Editor Tommy Tompkins and former \u003cem>SF Weekly\u003c/em> Music Editor \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">Ann K. Powers,\u003c/a> she got into the game. “This was when the alternative weeklies of the Bay Area were very helpful,” says Smith, also shouting out \u003cem>LA Weekly\u003c/em> and New York’s \u003cem>Village Voice\u003c/em>. “In many cases, they extended a hand to people of color to get them started writing. I miss those days.”\u003c/p>\n\u003cp>Smith’s call up to the major leagues came through Bill Adler, founding member of Def Jam, longtime journalist and namesake of the \u003ca href=\"https://digital.library.cornell.edu/catalog?f%5Bcollection_tesim%5D%5B%5D=Adler+Hip+Hop+Archive\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Hip-Hop Archive\u003c/a> at Cornell University. He informed Smith of an opening for the R&B Editor at \u003cem>Billboard\u003c/em>. Smith says she went to Oakland’s MacArthur-Broadway Mall (where Kaiser now stands) and got a suit that couldn’t have cost more than $40. “I made up my mind that I was going to get that job,” Smith recalls. “And that’s all she wrote.”\u003c/p>\n\u003cp>In all actuality, she was just getting started writing.\u003c/p>\n\u003cfigure id=\"attachment_13894183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-2-800x951.jpg\" alt=\"Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard's R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi.\" width=\"800\" height=\"951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2.jpg 1077w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard’s R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi. \u003ccite>(Courtesy of Danyel Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith landed big-name interviews with figures like \u003ca href=\"https://books.google.com/books?id=QCgEAAAAMBAJ&pg=PT15&lpg=PT15&dq=danyel+smith+Wesley+Snipes+billboard&source=bl&ots=Cw7IY0bx88&sig=ACfU3U01hWwrbxfYqzB72IPogFG4ONajLw&hl=en&sa=X&ved=2ahUKEwjeqY-6_LjvAhVFDDQIHRLrA0kQ6AEwEnoECAQQAw#v=onepage&q=danyel%20smith%20Wesley%20Snipes%20billboard&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Wesley Snipes,\u003c/a> and was one of the earliest reporters to investigate what eventually proved to be sex crimes committed by \u003ca href=\"https://books.google.com/books?id=dywEAAAAMBAJ&lpg=PA53&vq=kelly&pg=PA52#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>.\u003c/p>\n\u003cp>While Smith held her own, she admits she was “unpolished.” She took notes on how other women carried themselves and dressed, while at the same time, “I brought Oakland with me to every meeting. Good, bad, or otherwise.”\u003c/p>\n\u003cp>Smith tells me about a time an unnamed male boss told her he’d thought she was going to be too hood for the job. “But it seems like you’re doing OK,” Smith recalls him saying. It motivated Smith to dive deeper into her work. She credits a number of women, mentors, who took her under their wing and told her “not to drink out of the finger bowl at Mr. Chow’s.”\u003c/p>\n\u003cp>Because I’m looking clueless while hearing the story, Smith tells me a “finger bowl” is a little fancy container full of warm water for washing your hands at the table. \u003ca href=\"https://www.imdb.com/name/nm2312380/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Cassandra Mills\u003c/a>, the highly regarded manager, higher-up at Giant Records and force behind the success of the \u003cem>New Jack City\u003c/em> soundtrack, had to give Smith a gentle touch on the wrist to tell her not to drink it. “It had a lemon in it,” says Smith. “I was like, ‘Oh, lemon tea for me!’”\u003c/p>\n\u003cp>Years later, she’s not embarrassed about the interaction. “There’s no shame in not coming up around stuff like that,” says Smith, who knows others who’ve had to acclimate to the different world of Manhattan. “I married a guy, Ell, he’s from the projects in Queens. We’ll get through this together.”\u003c/p>\n\u003cp>Ell—or \u003ca href=\"https://twitter.com/ElliottWilson?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Elliott Wilson\u003c/a>, often referred to as the “GOAT” of hip-hop journalism—is the founder of Rap Radar and Chief Content Officer at Tidal.\u003c/p>\n\u003cp>Smith is transparent about their relationship: Wilson is her second husband, and their bond is a product of her taking time to heal from past relationships, Smith says, as well her being intentional about the things she truly wanted in life.\u003c/p>\n\u003cp>In her mid-30s, Smith took time away from work, went back to school and earned her undergraduate and masters degrees and also published a novel, \u003ca href=\"https://www.amazon.com/More-Like-Wrestling-Danyel-Smith/dp/0609809938\">\u003ci>More Like Wrestling,\u003c/i>\u003c/a> which is set in Oakland. She says one day she was at a friend’s birthday party and saw someone she’d known for a while, but had never looked at in \u003cem>that way\u003c/em>.\u003c/p>\n\u003cp>Smith and Wilson have now been married for 16 years.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hrough my conversation with Smith, and in listening to her podcast, it’s become pretty clear just how important relationships are to the stories she tells.\u003c/p>\n\u003cp>So far this season, she’s covered her relationship to Whitney Houston as a fan, Whitney’s romantic relationship with Bobby Brown, the sisterhood-esque relationship between Natalie Cole and Whitney Houston, and the familial relationship of Natalie Cole and her father, Nat King Cole.\u003c/p>\n\u003cp>Looking back at her work, it’s a mechanism Smith has used in multiple ways. In retelling the story of a \u003ca href=\"https://www.youtube.com/watch?v=M7r8T0e5icU\">confrontation with Foxy Brown,\u003c/a> she focused on a friendship that shouldn’t have been. \u003ca href=\"https://theundefeated.com/features/simone-biles-most-dominant-athlete-of-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">In writing about Simone Biles\u003c/a>, she focused on the gymnast’s relationship to her sport, as well as other elite athletes. And in one of her more moving pieces, Smith writes candidly about her relationship with herself, as she juxtaposes \u003ca href=\"https://www.npr.org/2020/11/11/933080759/sade-saves-lovers-rock-20th-career-retrospective\" target=\"_blank\" rel=\"noopener noreferrer\">her own growth with Sade’s musical catalog\u003c/a>.\u003c/p>\n\u003cp>“The definition of love in a relationship,” Smith says, “is contributing to the other person’s growth.”\u003c/p>\n\u003cp>Of course, she says, taking care of the other person and staying romantic are in the mix, but “if you’re going to be with a person a long time, you have to be into that person growing into who they’re going to be,” says Smith, “and they have to be into you growing into who you are going to be.”\u003c/p>\n\u003cp>The same philosophy on relationships continually shows up in her work: as the culture has grown, so has she.\u003c/p>\n\u003cp>“I’ve always felt that hip-hop, when I got into it, it was still a subculture,” Smith says. “It wasn’t getting the credit that it deserved for changing culture and changing the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as hip-hop, and for that matter Black American entertainment as a whole, continues to get its due credit for changing the world, so too should its key purveyors.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera and UCSF's New Mask for Singers Helps Bring Back In-Person Performances",
"headTitle": "SF Opera and UCSF’s New Mask for Singers Helps Bring Back In-Person Performances | KQED",
"content": "\u003cp>\u003ca href=\"https://surgery.ucsf.edu/faculty/general-surgery/sanziana-a-roman,-md,-facs.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Sanziana Roman\u003c/a> is a classically-trained soprano who also happens to be a professor of surgery and thyroid surgeon at the \u003ca href=\"http://ucsf.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of California San Francisco\u003c/a> (UCSF).\u003c/p>\n\u003cp>“I just couldn’t bear the thought that I may not make it as a singer,” Roman says. “So I went to medical school.”\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) has enlisted Roman as one of a handful of UCSF medical experts to help determine what it would take to bring live opera back.\u003c/p>\n\u003cfigure id=\"attachment_13894139\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg\" alt=\"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">UCSF professor of surgery and thyroid surgeon Sanziana Roman was on track to become a professional soprano before changing track to pursue a career in medicine. \u003ccite>(Courtesy Sanziana Roman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group has met every Monday morning on Zoom since last June. And one night not too long after the collaboration began, Roman decided to get creative.\u003c/p>\n\u003cp>“I had some old masks from the operating room that I brought home,” Roman says. “I cut them up at my kitchen table and kind of pasted them together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result was the prototype for a new mask specially designed for singers, and aimed at keeping performers safe as they return to live productions.\u003c/p>\n\u003cp>Roman’s invention has since gone through rounds of testing and further design tweaks. UCSF and SF Opera have filed a patent for the mask, and it’s currently being manufactured in the opera company’s costume shop as the team searches for a commercial entity like 3M to potentially license the mask to and ramp up its production.\u003c/p>\n\u003cp>“It was really designed to get singers practicing, working together, and being in close proximity without worrying so much about aerosols,” Roman says of her new creation, officially called the VOXCV mask.\u003c/p>\n\u003cp>Even though COVID-19 infection rates are dropping in California, singing in public is still considered a high-risk activity. That’s because of the aerosols that singing produces—fine mists of tiny particles that tend to float in the air for extended periods of time. This makes them potentially more hazardous than the larger droplets created by regular speaking, which generally fall to the ground more easily.\u003c/p>\n\u003cp>The media has reported on \u003ca href=\"https://www.theguardian.com/world/2020/may/17/did-singing-together-spread-coronavirus-to-four-choirs\" target=\"_blank\" rel=\"noopener noreferrer\">several singing-related COVID-19 outbreaks\u003c/a> over the past year, including one in Washington State that left two choristers dead.\u003c/p>\n\u003cp>In tests conducted at \u003ca href=\"https://www.ucdavis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, Roman’s new mask design has proved to be almost as efficient at filtering out particles as the gold-standard N95 mask. (According to a UC Davis research paper shared with KQED, it filters out 94% of particles; the N95 filters 95%.)\u003c/p>\n\u003cfigure id=\"attachment_13894140\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Opera Adler Fellow Anne-Marie MacIntosh got to try out and offer feedback on the new singing mask. \u003ccite>(Anne-Marie MacIntosh/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Opera \u003ca href=\"https://sfopera.com/about-us/opera-center/adler-fellowship-program/adler-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Fellow\u003c/a> \u003ca href=\"https://sfopera.com/about-us/people/bios/adlers/AnneMarieMacIntosh/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne-Marie MacIntosh\u003c/a>, a resident artist with the company, is impressed with the thinking that’s gone into the design.\u003c/p>\n\u003cp>“It has a really nice drawstring at the bottom that goes underneath your chin to ensure again that there aren’t aerosols escaping through the bottom of the mask,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh was able to try out and offer feedback on the new mask, which is made of washable cotton and has plastic boning to keep it off the face.\u003c/p>\n\u003cp>“And also it has a roll-up extension at the bottom, which you can open up to drink water out of, so that you’re not having to take the mask on and off in rehearsal and put yourself and others in danger,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh unfurls the long flap at the front of the mask, which flops around like the trunk of a dejected elephant. It’s not very flattering, in other words. (Roman says the original prototype looked even weirder.)\u003c/p>\n\u003cp>But MacIntosh says after months of being stuck in her apartment doing rehearsals on Zoom, she can live with the aesthetics.\u003c/p>\n\u003cp>“We’re creating a new trend here!” she says with a laugh.\u003c/p>\n\u003cp>Other opera companies, like \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a>, have also developed singer masks in their costume shops. The company’s general director, \u003ca href=\"https://www.operasj.org/company/\" target=\"_blank\" rel=\"noopener noreferrer\">Khori Dastoor\u003c/a>, says she can see them becoming part of a performer’s everyday toolkit, alongside things like pitch pipes and throat lozenges, well after this pandemic ends.\u003c/p>\n\u003cp>“If it reduces our risk to get the flu or to get any kind of run-of-the-mill rhinovirus, that will stay,” Dastoor says.\u003c/p>\n\u003cp>UCSF’s Roman says masks should be thought of as just one part of a larger solution to enable a safe return to live performances.\u003c/p>\n\u003cp>“Masks are not the only thing that will be protective,” she says. “You have to have good ventilation. You have to have some separation from each other. And you need to have a lot of good testing.”\u003c/p>\n\u003cp>Meanwhile, singer MacIntosh is about to get her first chance to sing before a live audience in more than a year.\u003c/p>\n\u003cp>Together with a number of fellow San Francisco Opera artists, MacIntosh is ramping up for \u003ca href=\"https://sfopera.com/on-stage/the-adlers-live-at-the-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">a series of live outdoor performances\u003c/a> in late April and May, held at the Marin Center for a drive-in audience. So she’s getting used to practicing in her new mask.\u003c/p>\n\u003cp>MacIntosh says rehearsing in the mask isn’t ideal. It gets a little stuffy in there after a while. But that’s a small price to pay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s just exciting to get to work with other people,” MacIntosh says. “We’re going to do whatever it takes to make that happen.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://surgery.ucsf.edu/faculty/general-surgery/sanziana-a-roman,-md,-facs.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Sanziana Roman\u003c/a> is a classically-trained soprano who also happens to be a professor of surgery and thyroid surgeon at the \u003ca href=\"http://ucsf.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of California San Francisco\u003c/a> (UCSF).\u003c/p>\n\u003cp>“I just couldn’t bear the thought that I may not make it as a singer,” Roman says. “So I went to medical school.”\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) has enlisted Roman as one of a handful of UCSF medical experts to help determine what it would take to bring live opera back.\u003c/p>\n\u003cfigure id=\"attachment_13894139\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg\" alt=\"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">UCSF professor of surgery and thyroid surgeon Sanziana Roman was on track to become a professional soprano before changing track to pursue a career in medicine. \u003ccite>(Courtesy Sanziana Roman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group has met every Monday morning on Zoom since last June. And one night not too long after the collaboration began, Roman decided to get creative.\u003c/p>\n\u003cp>“I had some old masks from the operating room that I brought home,” Roman says. “I cut them up at my kitchen table and kind of pasted them together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result was the prototype for a new mask specially designed for singers, and aimed at keeping performers safe as they return to live productions.\u003c/p>\n\u003cp>Roman’s invention has since gone through rounds of testing and further design tweaks. UCSF and SF Opera have filed a patent for the mask, and it’s currently being manufactured in the opera company’s costume shop as the team searches for a commercial entity like 3M to potentially license the mask to and ramp up its production.\u003c/p>\n\u003cp>“It was really designed to get singers practicing, working together, and being in close proximity without worrying so much about aerosols,” Roman says of her new creation, officially called the VOXCV mask.\u003c/p>\n\u003cp>Even though COVID-19 infection rates are dropping in California, singing in public is still considered a high-risk activity. That’s because of the aerosols that singing produces—fine mists of tiny particles that tend to float in the air for extended periods of time. This makes them potentially more hazardous than the larger droplets created by regular speaking, which generally fall to the ground more easily.\u003c/p>\n\u003cp>The media has reported on \u003ca href=\"https://www.theguardian.com/world/2020/may/17/did-singing-together-spread-coronavirus-to-four-choirs\" target=\"_blank\" rel=\"noopener noreferrer\">several singing-related COVID-19 outbreaks\u003c/a> over the past year, including one in Washington State that left two choristers dead.\u003c/p>\n\u003cp>In tests conducted at \u003ca href=\"https://www.ucdavis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, Roman’s new mask design has proved to be almost as efficient at filtering out particles as the gold-standard N95 mask. (According to a UC Davis research paper shared with KQED, it filters out 94% of particles; the N95 filters 95%.)\u003c/p>\n\u003cfigure id=\"attachment_13894140\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Opera Adler Fellow Anne-Marie MacIntosh got to try out and offer feedback on the new singing mask. \u003ccite>(Anne-Marie MacIntosh/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Opera \u003ca href=\"https://sfopera.com/about-us/opera-center/adler-fellowship-program/adler-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Fellow\u003c/a> \u003ca href=\"https://sfopera.com/about-us/people/bios/adlers/AnneMarieMacIntosh/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne-Marie MacIntosh\u003c/a>, a resident artist with the company, is impressed with the thinking that’s gone into the design.\u003c/p>\n\u003cp>“It has a really nice drawstring at the bottom that goes underneath your chin to ensure again that there aren’t aerosols escaping through the bottom of the mask,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh was able to try out and offer feedback on the new mask, which is made of washable cotton and has plastic boning to keep it off the face.\u003c/p>\n\u003cp>“And also it has a roll-up extension at the bottom, which you can open up to drink water out of, so that you’re not having to take the mask on and off in rehearsal and put yourself and others in danger,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh unfurls the long flap at the front of the mask, which flops around like the trunk of a dejected elephant. It’s not very flattering, in other words. (Roman says the original prototype looked even weirder.)\u003c/p>\n\u003cp>But MacIntosh says after months of being stuck in her apartment doing rehearsals on Zoom, she can live with the aesthetics.\u003c/p>\n\u003cp>“We’re creating a new trend here!” she says with a laugh.\u003c/p>\n\u003cp>Other opera companies, like \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a>, have also developed singer masks in their costume shops. The company’s general director, \u003ca href=\"https://www.operasj.org/company/\" target=\"_blank\" rel=\"noopener noreferrer\">Khori Dastoor\u003c/a>, says she can see them becoming part of a performer’s everyday toolkit, alongside things like pitch pipes and throat lozenges, well after this pandemic ends.\u003c/p>\n\u003cp>“If it reduces our risk to get the flu or to get any kind of run-of-the-mill rhinovirus, that will stay,” Dastoor says.\u003c/p>\n\u003cp>UCSF’s Roman says masks should be thought of as just one part of a larger solution to enable a safe return to live performances.\u003c/p>\n\u003cp>“Masks are not the only thing that will be protective,” she says. “You have to have good ventilation. You have to have some separation from each other. And you need to have a lot of good testing.”\u003c/p>\n\u003cp>Meanwhile, singer MacIntosh is about to get her first chance to sing before a live audience in more than a year.\u003c/p>\n\u003cp>Together with a number of fellow San Francisco Opera artists, MacIntosh is ramping up for \u003ca href=\"https://sfopera.com/on-stage/the-adlers-live-at-the-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">a series of live outdoor performances\u003c/a> in late April and May, held at the Marin Center for a drive-in audience. So she’s getting used to practicing in her new mask.\u003c/p>\n\u003cp>MacIntosh says rehearsing in the mask isn’t ideal. It gets a little stuffy in there after a while. But that’s a small price to pay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s just exciting to get to work with other people,” MacIntosh says. “We’re going to do whatever it takes to make that happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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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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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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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",
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