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"title": "Bay Area Artists on Challenges, Unexpected Victories in the Pandemic",
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"content": "\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”[aside postID='arts_13893812']\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. I worked on seven different projects, but each of them ended up being becoming basically a \u003ca href=\"https://www.sahbakia.com/videos\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube or Facebook video\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/W2WxvoK3LJw\u003c/p>\n\u003cp>“In the context of my festival \u003ca href=\"https://www.flyingcarpetfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flying Carpet\u003c/a>, we work with 5,000, 6,000 children [in Turkey] every year. And this year, we’ve been able to reach out to maybe 200 children through online means, which brings a lot of issues because they’re in an area where data is expensive. … This year, we are planning on creating a home edition of this online Carpet Festival and reaching out to embassies and organizations for the funds to create a magical box that we can send to children in that region. And each box would include 10 to 12 modules created by different artists.\u003c/p>\n\u003cp>“One of the things I learned is that my work has always been in the line of human human rights work.[aside postid='arts_13860293']\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\n\u003cp>https://www.instagram.com/p/CEMYnPlBr3N/\u003c/p>\n\u003cp>“Once the pandemic happened, I had a couple of goals for what I wanted for the project. I didn’t want to waste artists’ time and I wanted to pay them something. So I came up with an idea to create these short one-minute videos. And each artist watched and responded to another artist’s video, so it creates this chain of videos, each by a different artist taking something from the previous video and transforming it through their own lens and through their own medium, et cetera. Then we presented it and we we got funds through donations, essentially. And then we were able to pay our artists a stipend for the work that they did.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bronwynemery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bronwyn Emery\u003c/a>, Alameda writer, writing and creativity coach\u003c/strong>\u003c/p>\n\u003cp>“My personal creative process has taken a backseat because my practice has expanded to meet the needs of people who can’t get together anymore. And writing in particular is an isolated, isolating experience. You write by yourself. But a lot of people need accountability; they thrive in a group setting that has gives them inspiration and motivation. The shelter in place, the pandemic and the existential dread of the past few years has impacted creativity, so coming together in groups has been more important and has had a greater impact. So I spend a lot more time establishing online write-alongs and places to share what you’ve written that day, places to share what you’ve been working on and polishing for a month or two. Places where people can get together and talk about the writing process, different workshops. It’s really kind of taken over. Now I’m at the point where I need to coach myself on where do I find my place to be creative?”\u003c/p>\n\u003cp>\u003ca id=\"typeform\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/dQxuwlO4?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. I worked on seven different projects, but each of them ended up being becoming basically a \u003ca href=\"https://www.sahbakia.com/videos\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube or Facebook video\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/W2WxvoK3LJw'\n title='//www.youtube.com/embed/W2WxvoK3LJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In the context of my festival \u003ca href=\"https://www.flyingcarpetfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flying Carpet\u003c/a>, we work with 5,000, 6,000 children [in Turkey] every year. And this year, we’ve been able to reach out to maybe 200 children through online means, which brings a lot of issues because they’re in an area where data is expensive. … This year, we are planning on creating a home edition of this online Carpet Festival and reaching out to embassies and organizations for the funds to create a magical box that we can send to children in that region. And each box would include 10 to 12 modules created by different artists.\u003c/p>\n\u003cp>“One of the things I learned is that my work has always been in the line of human human rights work.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Once the pandemic happened, I had a couple of goals for what I wanted for the project. I didn’t want to waste artists’ time and I wanted to pay them something. So I came up with an idea to create these short one-minute videos. And each artist watched and responded to another artist’s video, so it creates this chain of videos, each by a different artist taking something from the previous video and transforming it through their own lens and through their own medium, et cetera. Then we presented it and we we got funds through donations, essentially. And then we were able to pay our artists a stipend for the work that they did.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bronwynemery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bronwyn Emery\u003c/a>, Alameda writer, writing and creativity coach\u003c/strong>\u003c/p>\n\u003cp>“My personal creative process has taken a backseat because my practice has expanded to meet the needs of people who can’t get together anymore. And writing in particular is an isolated, isolating experience. You write by yourself. But a lot of people need accountability; they thrive in a group setting that has gives them inspiration and motivation. The shelter in place, the pandemic and the existential dread of the past few years has impacted creativity, so coming together in groups has been more important and has had a greater impact. So I spend a lot more time establishing online write-alongs and places to share what you’ve written that day, places to share what you’ve been working on and polishing for a month or two. Places where people can get together and talk about the writing process, different workshops. It’s really kind of taken over. Now I’m at the point where I need to coach myself on where do I find my place to be creative?”\u003c/p>\n\u003cp>\u003ca id=\"typeform\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/dQxuwlO4?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QG00h0OASmw\u003c/p>\n\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vv-Y1Ejhk4o\u003c/p>\n\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fTJDZiW_paM\u003c/p>\n\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé won four Grammy Awards to become the most celebrated performer in the awards show’s history during an unpredictable ceremony that mixed the arrival of major new artists with repeat victories by Grammy favorites and surprisingly intimate performances with more familiar staged bombast.\u003c/p>\n\u003cp>The two biggest awards of the night went to Billie Eilish’s “Everything I Wanted,” which won record of the year and Taylor Swift’s quarantine-produced \u003cem>folklore,\u003c/em> which picked up the album of the year prize. After coming up empty in her first five nominations Sunday, Swift had to wait for most of the ceremony before taking home her third career Grammy in that category, becoming just the fourth artist to do so.\u003c/p>\n\u003cp>Upon receiving the Recording Academy’s most prestigious award, Eilish, who swept the major categories in last year’s awards, immediately deflected credit and said Houston rapper Megan Thee Stallion should have won the award for her song “Savage.”\u003c/p>\n\u003cp>“This is really embarrassing to me,” Eilish said. “Megan … girl, you deserve this.”\u003c/p>\n\u003cp>Megan Thee Stallion, one of the music industry’s most notable new arrivals in 2020, still took home three awards: best new artist, best rap song and best rap performance. Her “Savage” remix featuring Beyoncé helped the latter pass Alison Krauss for most Grammys ever by a female artist and tie super-producer Quincy Jones at 28 career trophies. Only classical conductor Georg Solti (31) has won more Grammy hardware.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to uplift, encourage and celebrate all the beautiful Black queens and kings that continue to inspire me and inspire the whole world,” Beyoncé said after accepting the Grammy for best R&B performance for her Juneteenth surprise single “Black Parade.”\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/QG00h0OASmw'\n title='//www.youtube.com/embed/QG00h0OASmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shockwaves of Summer 2020, when a nation defied lockdown to protest the killings of George Floyd and Breonna Taylor at the hands of police, were felt on the outdoor stage at Los Angeles’ Staples Center. H.E.R.’s “\u003ca href=\"https://www.npr.org/sections/we-insist-a-timeline-of-protest-music-in-2020/2020/09/02/903233585/h-e-r-questions-indifference-to-black-agony-on-i-can-t-breathe\" target=\"_blank\" rel=\"noopener noreferrer\">I Can’t Breathe\u003c/a>,” which was also released on Juneteenth, took home song of the year.\u003c/p>\n\u003cp>“You know that fight we had in Summer 2020?” H.E.R. said before she left the stage. “Keep that.”\u003c/p>\n\u003cp>Chart-topping rapper Lil Baby was even more explicit, bringing his nominated anthem “The Bigger Picture” to life in a pre-produced segment that portrayed two police officers killing a Black man after a traffic stop. The video featured Killer Mike delivering a verse from his Run The Jewels project and activist Tamika Mallory, who delivered a passionate plea directly to the White House.\u003c/p>\n\u003cp>“President Biden, we demand justice, equity, policy and everything else that freedom encompasses,” Mallory said. “And to accomplish this, we don’t need allies. We need accomplices. It’s bigger than black and white. This is not a trend, this is our plight.”\u003c/p>\n\u003cp>The ongoing pandemic forced CBS and the Recording Academy to rethink the performances that add up to “Music’s Biggest Night.” Instead of shuffling artists on and off a huge stage in front of a packed arena, host Trevor Noah ushered the cameras into a spacious room featuring a handful of nominees who performed in round robin fashion. Mostly gone were the Broadway sets and “Grammy moments” of retired producer Ken Erhlich, who helmed the broadcast from 1980 until last year. Instead, first-time executive producer Ben Winston often opted for low-key memories by cutting away from performers to capture giddy reactions from their fellow nominees.\u003c/p>\n\u003cp>Harry Styles, donning a scarf and jacket, kicked off the evening’s performances with “Watermelon Sugar,” which later was named best pop solo performance. Rising pop star Dua Lipa, who was favored by some to sweep the big three awards coming into the night, was shut out of the major awards, but did take home best pop vocal album.\u003c/p>\n\u003cp>Sunday night marked the first time the Grammys included the Latin pop album award in its primetime telecast. That prize went to \u003cem>YHLQMDLG \u003c/em>by streaming giant Bad Bunny, who gave one of the night’s most electrifying performances with his “DÁKITI” co-star Jhay Cortez.\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/vv-Y1Ejhk4o'\n title='//www.youtube.com/embed/vv-Y1Ejhk4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The night’s most affecting live performance was, arguably, Mickey Guyton’s “Black Like Me,” which lost out to Vince Gill’s “When My Amy Prays” for best country solo performance earlier in the day. The song was released in the wake of George Floyd’s killing last summer and documents the marginalization that Black people can feel in everyday America.\u003c/p>\n\u003cp>Guyton’s song kicked off a segment of live performances from women nominated in country music categories, which might have featured more female voices than a week’s worth of country radio. Miranda Lambert, who earlier won the best country album award for \u003cem>Wildcard\u003c/em>, performed her nominated song “Bluebird,” while Maren Morris sang “The Bones” with help from John Mayer on guitar.\u003c/p>\n\u003cp>Earlier in the day, Fiona Apple, whose critically-acclaimed album \u003cem>Fetch the Bolt Cutters\u003c/em> received no nominations in the major categories, did win two categories that gave her a chance, capturing both best alternative music album and best rock performance for “Shameika.” The latter came up short in the best rock song category, which was won by Brittany Howard for “Stay High.” That effervescent single from Howard’s album \u003cem>Jaime\u003c/em> was the \u003ca href=\"https://www.npr.org/2019/12/11/778227298/heavy-rotation-public-radios-most-popular-songs-of-2019\" target=\"_blank\" rel=\"noopener noreferrer\">most-played song on NPR stations in 2019\u003c/a>.\u003c/p>\n\u003cp>Two iconic departed musicians received awards from the Academy after unexpected deaths. Chick Corea, who died suddenly in February from cancer, was named a winner for best jazz instrumental album (\u003cem>Trilogy 2\u003c/em> with Christian McBride & Brian Blade) and best improvised jazz solo (for “All Blues” from the same album). Beloved songwriter John Prine, who died last April after contracting COVID-19, was awarded two Grammys for the posthumously released “I Remember Everything,” which was named best American roots performance and best American roots song.\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/fTJDZiW_paM'\n title='//www.youtube.com/embed/fTJDZiW_paM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Brandi Carlile performed the song in tribute to Prine during the section of the telecast that paid tribute to dozens of musicians and music professionals who died since last year’s show. Earlier in the day, Carlile, Natalie Hemby and Lori McKenna won the best country song for The Highwomen’s “Crowded Table.”\u003c/p>\n\u003cp>Nas won his first career Grammy, picking up the best rap album prize for his 13th studio album, \u003cem>King’s Disease\u003c/em>. Nas edged critical favorite Freddie Gibbs and The Alchemist’s \u003cem>Alfredo\u003c/em>, but the category received more notoriety for what wasn’t nominated, namely Lil Uzi Vert’s \u003cem>Eternal Atake\u003c/em> and Lil Baby’s \u003cem>My Turn\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Montreal producer Kaytranada took home both of the dance/electronic category’s awards, winning best dance recording for “10%,” which featured Kali Uchis, and best dance/electronic album for \u003cem>Bubba\u003c/em>. The recognition was justice served for an album released in mid-December 2019, after most of the year’s “best of” lists had already been published. Kaytranada’s victory for \u003cem>Bubba\u003c/em> marked the first time a Black musician took home the dance/electronic album Grammy in the category’s 17-year history.\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=Beyonc%C3%A9+Reigns+And+Billie+Eilish+Repeats+At+2021+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lou Ottens, Inventor Of The Cassette Tape, Has Died",
"headTitle": "Lou Ottens, Inventor Of The Cassette Tape, Has Died | KQED",
"content": "\u003cfigure id=\"attachment_13893776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg\" alt=\"A Philips cassette tape is shown in 1965. \" width=\"800\" height=\"755\" class=\"size-medium wp-image-13893776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1020x963.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-768x725.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1536x1450.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-2048x1933.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1920x1812.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Philips cassette tape is shown in 1965. Lou Ottens, who lead the invention of the first cassette tape, has died at 94. \u003ccite>(Alfred Assmann/Picture Alliance via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lou Ottens, who put music-lovers around the world on a path toward playlists and mixtapes by leading the invention of the first cassette tape, has died at age 94, according to media reports in the Netherlands. Ottens was a talented and influential engineer at Philips, where he also helped develop consumer compact discs.\u003c/p>\n\u003cp>Ottens died last Saturday, according to the Dutch news outlet \u003ca href=\"https://www.nrc.nl/nieuws/2021/03/09/de-man-van-philips-vindingen-als-cassettebandje-en-cd-had-geen-trotsmetertje-a4034819\">NRC Handelsblad\u003c/a>, which lists his age as 94. \u003c/p>\n\u003cp>The cassette tape was Ottens’ answer to the large reel-to-reel tapes that provided high-quality sound but were seen as too clunky and expensive. He took on the challenge of shrinking tape technology in the early 1960s, when he became the head of new product development in Hasselt, Belgium, for the Dutch-based Philips technology company. \u003c/p>\n\u003cp>“Lou wanted music to be portable and accessible,” says documentary filmmaker Zack Taylor, who spent days with Ottens for his film, \u003cem>Cassette: A Documentary Mixtape\u003c/em>. \u003c/p>\n\u003cp>Ottens’ goal was to make something simple and affordable for anyone to use. As Taylor says, “He advocated for Philips to license this new format to other manufacturers for free, paving the way for cassettes to become a worldwide standard.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But first, he had to invent it. Trying to envision something that didn’t yet exist, Ottens used a wooden block that was small and thin enough to fit in his pocket as the target for what the future of tape recording and playback should be.\u003c/p>\n\u003cp>The result was unveiled to the world in 1963, and the so-called “compact cassette” quickly took off: It was “a sensation” from the start, Ottens told \u003ca href=\"https://entertainment.time.com/2013/08/02/happy-50th-birthday-cassettes/\">Time\u003c/a> in 2013, on the cassette’s 50th anniversary.\u003c/p>\n\u003cp>Born in 1926, Ottens went from building a radio for his family during World War II – it reportedly had a directional antenna, so it could focus on radio signals despite Nazi jamming attempts — to developing technology that would democratize music. \u003c/p>\n\u003cp>“Cassettes taught us how to use our voice, even when the message came from someone else’s songs, compiled painstakingly on a mixtape,” Taylor said. Describing how little things have changed, he added, “So next time you make that perfect playlist on Spotify, or send a link to share a song, you can thank Lou Ottens.”\u003c/p>\n\u003cp>Ottens was famously unsentimental about the invention that has accounted for some 100 billion sales, according to NRC. In a career devoted to seeking higher fidelity and advancing technology, he dismissed tapes as primitive,\u003ca href=\"https://www.nrc.nl/nieuws/2018/02/15/het-cassettebandje-is-helemaal-terug-a1592250\"> prone to noise and distortion\u003c/a>.\u003c/p>\n\u003cp>True to their do-it-yourself roots, cassette mixtapes have long been a favorite of punk and rock fans. But their legacy also looms large in hip-hop, where aspiring rappers and producers have used the approach to showcase their ability to chop up other music and create something new. The mixtape ethos has survived, and even thrived, despite the move from magnetic tape to CDs and digital formats. \u003c/p>\n\u003cp>Nearly 20 years after Philips introduced cassette tapes, Ottens helped the company develop compact disc technology for the consumer market and, with Sony, to settle on a format that would become the industry standard.\u003c/p>\n\u003cp>“From now on, the conventional record player is obsolete,” Ottens declared when production CD players emerged, as \u003ca href=\"http://news.bbc.co.uk/2/hi/technology/6950933.stm\">the BBC\u003c/a> reported.\u003c/p>\n\u003cfigure id=\"attachment_13893775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg\" alt=\"A cassette tape sits on a conveyor belt that is carrying recyclable materials through a sorting machine at Recology's Recylce Central on November 16, 2016 in San Francisco, California.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13893775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78.jpg 1059w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes gave new control to music fans, allowing them to create and share their own collections of songs in a cheap and easily portable format. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar predictions were made about the cassette tape. But interest in the format has surged in recent years, despite the remaking of the music industry in the digital and streaming age. \u003c/p>\n\u003cp>The resurgence is driven by a mix of nostalgia and an appreciation for tapes’ unique status as a tangible but flexible format. For decades, music fans have used mixtapes to curate and share their favorite songs. Unsigned bands have also relied on them as a way to promote their music. \u003c/p>\n\u003cp>For many, cassettes have kept their cult status because they fulfill a dual promise of being both affordable and personal. They can hold anything from a carefully sequenced lineup of rare recordings to children putting on their own radio show. \u003c/p>\n\u003cp>“It’s the most accessible, easiest, cheapest way for anyone to record a piece of audio,” Matthew David of the Leaving Records music label \u003ca href=\"https://www.npr.org/sections/therecord/2011/02/24/133995073/cassette-tapes-get-a-west-coast-rewind\">told NPR\u003c/a> back in 2011, when cassettes were also enjoying a renaissance. \u003c/p>\n\u003cp>Cassette tapes have also become collector’s items. When Raekwon’s solo debut \u003cem>Only Built 4 Cuban Linx… \u003c/em>hit the market in 1995, for instance, it arrived in a rare purple-hued tape that became a cultural touchstone and a \u003ca href=\"https://www.npr.org/sections/therecord/2012/09/19/161403938/the-purple-tape-only-built-4-collectors\">hotly sought item\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ottens’ death follows a banner year for his invention. In 2020, a wide range of musicians \u003ca href=\"https://routenote.com/blog/the-official-top-40-best-selling-cassettes-of-2020/\">found success selling cassette tapes\u003c/a>, from Lady Gaga to Ozzy Osbourne and from Selena Gomez to the Gorillaz. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Ottens%2C+Inventor+Of+The+Cassette+Tape%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13893776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg\" alt=\"A Philips cassette tape is shown in 1965. \" width=\"800\" height=\"755\" class=\"size-medium wp-image-13893776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-800x755.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1020x963.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-768x725.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1536x1450.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-2048x1933.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-1061788942_custom-8785ee7012d20b2b084e738e89af38af0602c272-1920x1812.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Philips cassette tape is shown in 1965. Lou Ottens, who lead the invention of the first cassette tape, has died at 94. \u003ccite>(Alfred Assmann/Picture Alliance via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lou Ottens, who put music-lovers around the world on a path toward playlists and mixtapes by leading the invention of the first cassette tape, has died at age 94, according to media reports in the Netherlands. Ottens was a talented and influential engineer at Philips, where he also helped develop consumer compact discs.\u003c/p>\n\u003cp>Ottens died last Saturday, according to the Dutch news outlet \u003ca href=\"https://www.nrc.nl/nieuws/2021/03/09/de-man-van-philips-vindingen-als-cassettebandje-en-cd-had-geen-trotsmetertje-a4034819\">NRC Handelsblad\u003c/a>, which lists his age as 94. \u003c/p>\n\u003cp>The cassette tape was Ottens’ answer to the large reel-to-reel tapes that provided high-quality sound but were seen as too clunky and expensive. He took on the challenge of shrinking tape technology in the early 1960s, when he became the head of new product development in Hasselt, Belgium, for the Dutch-based Philips technology company. \u003c/p>\n\u003cp>“Lou wanted music to be portable and accessible,” says documentary filmmaker Zack Taylor, who spent days with Ottens for his film, \u003cem>Cassette: A Documentary Mixtape\u003c/em>. \u003c/p>\n\u003cp>Ottens’ goal was to make something simple and affordable for anyone to use. As Taylor says, “He advocated for Philips to license this new format to other manufacturers for free, paving the way for cassettes to become a worldwide standard.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But first, he had to invent it. Trying to envision something that didn’t yet exist, Ottens used a wooden block that was small and thin enough to fit in his pocket as the target for what the future of tape recording and playback should be.\u003c/p>\n\u003cp>The result was unveiled to the world in 1963, and the so-called “compact cassette” quickly took off: It was “a sensation” from the start, Ottens told \u003ca href=\"https://entertainment.time.com/2013/08/02/happy-50th-birthday-cassettes/\">Time\u003c/a> in 2013, on the cassette’s 50th anniversary.\u003c/p>\n\u003cp>Born in 1926, Ottens went from building a radio for his family during World War II – it reportedly had a directional antenna, so it could focus on radio signals despite Nazi jamming attempts — to developing technology that would democratize music. \u003c/p>\n\u003cp>“Cassettes taught us how to use our voice, even when the message came from someone else’s songs, compiled painstakingly on a mixtape,” Taylor said. Describing how little things have changed, he added, “So next time you make that perfect playlist on Spotify, or send a link to share a song, you can thank Lou Ottens.”\u003c/p>\n\u003cp>Ottens was famously unsentimental about the invention that has accounted for some 100 billion sales, according to NRC. In a career devoted to seeking higher fidelity and advancing technology, he dismissed tapes as primitive,\u003ca href=\"https://www.nrc.nl/nieuws/2018/02/15/het-cassettebandje-is-helemaal-terug-a1592250\"> prone to noise and distortion\u003c/a>.\u003c/p>\n\u003cp>True to their do-it-yourself roots, cassette mixtapes have long been a favorite of punk and rock fans. But their legacy also looms large in hip-hop, where aspiring rappers and producers have used the approach to showcase their ability to chop up other music and create something new. The mixtape ethos has survived, and even thrived, despite the move from magnetic tape to CDs and digital formats. \u003c/p>\n\u003cp>Nearly 20 years after Philips introduced cassette tapes, Ottens helped the company develop compact disc technology for the consumer market and, with Sony, to settle on a format that would become the industry standard.\u003c/p>\n\u003cp>“From now on, the conventional record player is obsolete,” Ottens declared when production CD players emerged, as \u003ca href=\"http://news.bbc.co.uk/2/hi/technology/6950933.stm\">the BBC\u003c/a> reported.\u003c/p>\n\u003cfigure id=\"attachment_13893775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg\" alt=\"A cassette tape sits on a conveyor belt that is carrying recyclable materials through a sorting machine at Recology's Recylce Central on November 16, 2016 in San Francisco, California.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13893775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/cassette-tape-ottens-dead_wide-62c6e8cc67474b87f89def0675ae067fe99e3e78.jpg 1059w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes gave new control to music fans, allowing them to create and share their own collections of songs in a cheap and easily portable format. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similar predictions were made about the cassette tape. But interest in the format has surged in recent years, despite the remaking of the music industry in the digital and streaming age. \u003c/p>\n\u003cp>The resurgence is driven by a mix of nostalgia and an appreciation for tapes’ unique status as a tangible but flexible format. For decades, music fans have used mixtapes to curate and share their favorite songs. Unsigned bands have also relied on them as a way to promote their music. \u003c/p>\n\u003cp>For many, cassettes have kept their cult status because they fulfill a dual promise of being both affordable and personal. They can hold anything from a carefully sequenced lineup of rare recordings to children putting on their own radio show. \u003c/p>\n\u003cp>“It’s the most accessible, easiest, cheapest way for anyone to record a piece of audio,” Matthew David of the Leaving Records music label \u003ca href=\"https://www.npr.org/sections/therecord/2011/02/24/133995073/cassette-tapes-get-a-west-coast-rewind\">told NPR\u003c/a> back in 2011, when cassettes were also enjoying a renaissance. \u003c/p>\n\u003cp>Cassette tapes have also become collector’s items. When Raekwon’s solo debut \u003cem>Only Built 4 Cuban Linx… \u003c/em>hit the market in 1995, for instance, it arrived in a rare purple-hued tape that became a cultural touchstone and a \u003ca href=\"https://www.npr.org/sections/therecord/2012/09/19/161403938/the-purple-tape-only-built-4-collectors\">hotly sought item\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ottens’ death follows a banner year for his invention. In 2020, a wide range of musicians \u003ca href=\"https://routenote.com/blog/the-official-top-40-best-selling-cassettes-of-2020/\">found success selling cassette tapes\u003c/a>, from Lady Gaga to Ozzy Osbourne and from Selena Gomez to the Gorillaz. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Ottens%2C+Inventor+Of+The+Cassette+Tape%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera’s ‘The Ring’ Streams All Throughout March—For Free",
"headTitle": "SF Opera’s ‘The Ring’ Streams All Throughout March—For Free | KQED",
"content": "\u003cp>You’ve probably never wondered what the classical composer Richard Wagner has in common with the Grateful Dead. I never did, myself. But in 2018, when I saw San Francisco Opera’s production of the \u003cem>Ring\u003c/em> cycle—Wagner’s 17-hour epic opera of gods, nymphs, giants and valkyries—I couldn’t help but notice the crowd in the $10 standing-room-only peanut gallery at the War Memorial Opera House. These were people decked in flamboyant outfits, who’d camped out in line for cheap tickets, who sometimes slept on the floor during intermissions and who, I learned, \u003ca href=\"https://www.cbc.ca/radio/sunday/the-sunday-edition-for-october-27-2019-1.5335017/ring-heads-of-the-world-unite-1.5335022\" target=\"_blank\" rel=\"noopener noreferrer\">regularly traveled around the world\u003c/a> to see as many stagings of \u003cem>The Ring\u003c/em> as possible.\u003c/p>\n\u003cp>In other words: They were Deadheads. But for opera.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener noreferrer\">being transformed by \u003cem>The Ring\u003c/em>\u003c/a>, especially director Francesca Zambello’s dynamic, modern staging of it, I understood where they were coming from. Like a dewy-eyed Deadhead waxing rhapsodic about Jerry Garcia, I turned into a proselytizing \u003cem>Ring\u003c/em> zealot, urging anyone within earshot to give this slow-moving, 17-hour, 162-year-old opera a chance.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why I’m here to tell you: \u003cem>The Ring\u003c/em> is coming back. For free. All through the month of March, San Francisco Opera is streaming its 2018 production of \u003cem>The Ring\u003c/em>, in its entirety—one of each four parts each weekend, \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>. For those that couldn’t score a miracle ticket in 2018, it’s the perfect opportunity to see this thrilling staging.\u003c/p>\n\u003cp>In addition, SF Opera is hosting \u003cem>The Ring Festival\u003c/em>, a series of talks and interviews from actors, authors and those behind the scenes all about \u003cem>The Ring\u003c/em>‘s themes and impact. Those streams are just $15 each, and also run through the month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And who knows? After March, you too might be putting on a horned helmet and waiting in line at the Opera House next time \u003cem>The Ring\u003c/em> comes around… and you might even see me there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Ring’ streams for free, one installment each weekend, in March. \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably never wondered what the classical composer Richard Wagner has in common with the Grateful Dead. I never did, myself. But in 2018, when I saw San Francisco Opera’s production of the \u003cem>Ring\u003c/em> cycle—Wagner’s 17-hour epic opera of gods, nymphs, giants and valkyries—I couldn’t help but notice the crowd in the $10 standing-room-only peanut gallery at the War Memorial Opera House. These were people decked in flamboyant outfits, who’d camped out in line for cheap tickets, who sometimes slept on the floor during intermissions and who, I learned, \u003ca href=\"https://www.cbc.ca/radio/sunday/the-sunday-edition-for-october-27-2019-1.5335017/ring-heads-of-the-world-unite-1.5335022\" target=\"_blank\" rel=\"noopener noreferrer\">regularly traveled around the world\u003c/a> to see as many stagings of \u003cem>The Ring\u003c/em> as possible.\u003c/p>\n\u003cp>In other words: They were Deadheads. But for opera.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener noreferrer\">being transformed by \u003cem>The Ring\u003c/em>\u003c/a>, especially director Francesca Zambello’s dynamic, modern staging of it, I understood where they were coming from. Like a dewy-eyed Deadhead waxing rhapsodic about Jerry Garcia, I turned into a proselytizing \u003cem>Ring\u003c/em> zealot, urging anyone within earshot to give this slow-moving, 17-hour, 162-year-old opera a chance.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why I’m here to tell you: \u003cem>The Ring\u003c/em> is coming back. For free. All through the month of March, San Francisco Opera is streaming its 2018 production of \u003cem>The Ring\u003c/em>, in its entirety—one of each four parts each weekend, \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>. For those that couldn’t score a miracle ticket in 2018, it’s the perfect opportunity to see this thrilling staging.\u003c/p>\n\u003cp>In addition, SF Opera is hosting \u003cem>The Ring Festival\u003c/em>, a series of talks and interviews from actors, authors and those behind the scenes all about \u003cem>The Ring\u003c/em>‘s themes and impact. Those streams are just $15 each, and also run through the month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And who knows? After March, you too might be putting on a horned helmet and waiting in line at the Opera House next time \u003cem>The Ring\u003c/em> comes around… and you might even see me there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Ring’ streams for free, one installment each weekend, in March. \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At this point, Ava DuVernay is a household name, having directed such films as \u003cem>Selma\u003c/em>, \u003cem>13th\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em>. So I was surprised to learn recently that I heard DuVernay’s voice long before I ever saw her movies. It was on a 1995 album called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=X2n3sf9ZePY&list=PLADGP63QuBum58OBO9Pq3H-GiVBGcEpJq\" rel=\"noopener noreferrer\" target=\"_blank\">Project Blowed\u003c/a>\u003c/em>, when she appeared on a track called “Don’t Get it Twisted” with her hip-hop duo Figures of Speech.\u003c/p>\n\u003cp>Figures of Speech sprung from a fertile group of rappers and DJs that coalesced around the Good Life Cafe, a health food restaurant in Los Angeles that held weekly open mics attracting the city’s underground hip-hop talent. The songs, stories and synergy of the Good Life are at the center of one of DuVernay’s earliest documentaries, \u003cem>This Is The Life\u003c/em>, which has finally just hit Netflix. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/225235608\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Good Life’s era spanned the 1990s, and its syncopated, jazzy and uber-lyrical music stood as a foil to popular street-oriented artists of the day like Dr. Dre and N.W.A. Hip-hop obsessives watching the film will find gold here—early footage of artists like Freestyle Fellowship, Jurassic 5 and C.V.E.; backyard parties; rappers breaking the cafe’s rule of no swearing on the mic; and fond, funny remembrances by those who were there.\u003c/p>\n\u003cp>But even a casual viewer of \u003cem>This is the Life\u003c/em> will get a sense of something bigger: namely, the way great art can grow and cross-pollinate in a tight-knit scene. The tiny cafe packed in men and women from an array of racial and religious backgrounds, and the ripple effect (on national groups like Outkast and Bone Thugs-n-Harmony) is an object lesson in the power of a diverse community working together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Sunday, Feb. 28, SFJAZZ wraps up Black History Month with an online panel discussion examining the historical context and current state of jazz music. Featuring four world-renowned musicians, writers, critics and educators, the two-hour long event also includes a Q&A session during which viewers can submit questions to the panelists.[aside postID='arts_13891079']\u003c/p>\n\u003cp>Iconic author, educator and activist Angela Davis, known for her civil rights work and pioneering black feminist theory, is joined by music critic, author, and jazz journalist Nate Chinen, a 13-time winner of the Helen Dance-Robert Palmer Award for Excellence in Writing from the Jazz Journalists Association. Grammy-winning vocalist and multi-instrumentalist Rhiannon Giddens and Grammy-winning composer and drummer Terri Lynne Carrington also join the panel, offering a unique perspective as musicians themselves. Carrington was recently named a 2021 Jazz Master by the National Endowment for the Arts, the highest honor bestowed on jazz musicians in the United States.\u003c/p>\n\u003cp>Moderated by social psychologist, educator, author and SFJAZZ Board trustee Claude Steele, the panel offer their perspectives on the connections between jazz music and race, as well as the contemporary state of the genre. From the genesis of jazz to its impact on social movements today, the star-studded conversation promises to be thought-provoking and insightful. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>SFJAZZ’s panel on jazz and race streams Sunday, Feb. 28, from 11am-1pm Pacific Time. Tickets are free; registration required. \u003ca href=\"https://www.sfjazz.org/sfjazz-digital/jazz-race-panel-discussion\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Justin Timberlake (Finally!) Apologizes to Janet Jackson and Britney Spears",
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"content": "\u003cp>News that hell froze over arrived on Instagram first thing this morning when Justin Timberlake issued an apology to both Britney Spears and Janet Jackson. Timberlake’s statement landed 19 years years after he blamed Britney Spears for the couple’s breakup (via the \u003ca href=\"https://www.youtube.com/watch?v=DksSPZTZES0\" target=\"_blank\" rel=\"noopener noreferrer\">“Cry Me A River” video\u003c/a>), and 16 years after he left Janet Jackson to fend for herself after\u003cem> that\u003c/em> Super Bowl performance. [aside postid='pop_20175']\u003c/p>\n\u003cp>“I am deeply sorry for the times in my life where my actions contributed to the problem, where I spoke out of turn, or did not speak up for what was right,” he wrote. “I specifically want to apologize to Britney Spears and Janet Jackson both individually, because I care and respect these women and I know I failed.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CLMxYbGhTno/\u003c/p>\n\u003cp>The apologies arrive less than a week after \u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=lKwQOPpbFhs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Framing Britney Spears\u003c/em>\u003c/a> documentary, which shows how the media subjected Spears to relentless scrutiny for apparently breaking Timberlake’s heart in the early 2000s. Meanwhile, Timberlake contributed to misogynistic discussions around Spears’ virginity. In an interview clip resurfaced in the doc, a radio host asks Timberlake, “Did you f–k Britney Spears?” Timberlake gleefully responds, “Okay, I did it!” [aside postid='pop_33345']\u003c/p>\n\u003cp>Timberlake’s \u003ca href=\"https://www.instagram.com/justintimberlake/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> began getting bombarded by angry Spears fans as soon as the doc arrived on FX and Hulu on Monday. A Feb. 6 post in which the singer is seen playing football with Tom Brady received comments including: “APOLOGIZE TO THE WOMAN WHO STARTED YOUR SOLO CAREER” and “#FreeBritney.” When one Instagram user named @zeynabbbb__ commented, “Came here to see all the Britney comments,” it was liked almost 9,000 times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comments on Timberlake’s Instagram also quickly progressed to include Janet Jackson. “Remember Janet Jackson,” one said. “It’s Janet Jackson Appreciation Day,” read another. Social media has been bombarded with anti-Timberlake posts during every Super Bowl since he was welcomed back to the halftime show with open arms in 2018. By contrast, Jackson has remained persona non grata at the event since 2004.\u003c/p>\n\u003cp>One 2006 clip of Jackson talking to Oprah Winfrey about how Timberlake treated her after their 2004 “wardrobe malfunction” was in heavy circulation on Twitter this week.\u003c/p>\n\u003cp>https://youtu.be/up-353i_VNg\u003c/p>\n\u003cp>“They did put all the emphasis on me, as opposed to us,” Jackson said at the time. “Friendship is very important to me and certain things you just don’t do to friends,” she continued, adding that she felt Timberlake left her hanging “during that whole fiasco.” [aside postid='pop_28030']\u003c/p>\n\u003cp>In his apology on Friday, Timberlake acknowledged the privilege that has allowed him to skate through both the Britney and Janet controversies professionally unscathed. “The industry is flawed,” he wrote. “It sets men, especially white men, up for success. It’s designed this way. As a man in a privileged position I have to be vocal about this. Because of my ignorance, I didn’t recognize it for all that it was while it was happening in my own life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Timberlake’s statement was greeted with widespread support on Instagram. However, some commenters remained cautious. “Hope you’re reaching out to them too,” @mrshermaberberian wrote, “and not just doing this as a PR stunt.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The apologies arrive less than a week after \u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=lKwQOPpbFhs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Framing Britney Spears\u003c/em>\u003c/a> documentary, which shows how the media subjected Spears to relentless scrutiny for apparently breaking Timberlake’s heart in the early 2000s. Meanwhile, Timberlake contributed to misogynistic discussions around Spears’ virginity. In an interview clip resurfaced in the doc, a radio host asks Timberlake, “Did you f–k Britney Spears?” Timberlake gleefully responds, “Okay, I did it!” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Timberlake’s \u003ca href=\"https://www.instagram.com/justintimberlake/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a> began getting bombarded by angry Spears fans as soon as the doc arrived on FX and Hulu on Monday. A Feb. 6 post in which the singer is seen playing football with Tom Brady received comments including: “APOLOGIZE TO THE WOMAN WHO STARTED YOUR SOLO CAREER” and “#FreeBritney.” When one Instagram user named @zeynabbbb__ commented, “Came here to see all the Britney comments,” it was liked almost 9,000 times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comments on Timberlake’s Instagram also quickly progressed to include Janet Jackson. “Remember Janet Jackson,” one said. “It’s Janet Jackson Appreciation Day,” read another. Social media has been bombarded with anti-Timberlake posts during every Super Bowl since he was welcomed back to the halftime show with open arms in 2018. By contrast, Jackson has remained persona non grata at the event since 2004.\u003c/p>\n\u003cp>One 2006 clip of Jackson talking to Oprah Winfrey about how Timberlake treated her after their 2004 “wardrobe malfunction” was in heavy circulation on Twitter this week.\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/up-353i_VNg'\n title='//www.youtube.com/embed/up-353i_VNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“They did put all the emphasis on me, as opposed to us,” Jackson said at the time. “Friendship is very important to me and certain things you just don’t do to friends,” she continued, adding that she felt Timberlake left her hanging “during that whole fiasco.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his apology on Friday, Timberlake acknowledged the privilege that has allowed him to skate through both the Britney and Janet controversies professionally unscathed. “The industry is flawed,” he wrote. “It sets men, especially white men, up for success. It’s designed this way. As a man in a privileged position I have to be vocal about this. Because of my ignorance, I didn’t recognize it for all that it was while it was happening in my own life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Timberlake’s statement was greeted with widespread support on Instagram. However, some commenters remained cautious. “Hope you’re reaching out to them too,” @mrshermaberberian wrote, “and not just doing this as a PR stunt.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Musicians To Know: Bay Area Rapper Champ Green Isn’t Stingy with the Rhythm or the Wisdom",
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"content": "\u003cp>\u003ci data-stringify-type=\"italic\">Over 4 weeks, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish is featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003cbr>\n\u003c/i>\u003c/p>\n\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=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> is probably your favorite Bay Area rapper’s favorite rapper. He’s been putting in work for some time, and over the past calendar year he’s been on a music-making mission. And he’s not showing any signs of slowing.\u003c/p>\n\u003cfigure id=\"attachment_13892652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13892652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-1-1-800x718.jpg\" alt='An illustration of Champ Green on the outside of a \"Hella Nuts\" Grounded Walnut Meat bag. You can see him smiling in the bottom right corner of the bag as he bites into a burger.' width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Champ Green on the outside of “Hella Nuts” \u003ccite>(Mieko Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His clever wordplay and wisdom-filled rhymes can be found on a project \u003ca href=\"https://rootsandbranches.bandcamp.com/track/seed-15\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Basta\u003c/a>, a recent single and video \u003ca href=\"https://www.youtube.com/watch?v=tdzxSP1RWjc\" target=\"_blank\" rel=\"noopener noreferrer\">with Mistah FAB\u003c/a>, and multiple tracks with \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">the Grand Nationxl collective\u003c/a>. And next week he’s scheduled to release \u003cem>Pleasantly Plump 2\u003c/em> \u003ca href=\"https://www.instagram.com/p/CLFoxt8sgek/\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Twelvz\u003c/a>.\u003c/p>\n\u003cp>While his wordplay is on tracks, his face is on food. You can find him smiling on the packaging of the local plant-based food company \u003ca href=\"https://www.instagram.com/hella_nuts/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Nuts,\u003c/a> breaking stereotypes on what health looks like.\u003c/p>\n\u003cp>On top of all that, Champ, a friend of mine, is the walking embodiment of love. His latest project, \u003cem>Agape Elephant in The Room\u003c/em>, which dropped in December, is a testament to that love– and how it often gets overlooked.\u003c/p>\n\u003cp>Even with the competitive nature of the rap game, Champ says love has to be acknowledged. Today we talk about how Champ got love from his mother, game from the Town, and with each bar he spits he gives it all back.\u003c/p>\n\u003cfigure id=\"attachment_13892632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg\" alt=\"Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n.jpg 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background. \u003ccite>(Courtesy of Champ Gree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Champ Green.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Your most recent project was “Agape Elephant in the Room.” Why was that the title?\u003c/em>\u003c/p>\n\u003cp>Champ Green: It derived from the elephant in the room, so everybody says they don’t see the elephant, right? But it’s plain as day. So I’m the elephant with the big love in the room. Depending on the way you view it, either, I’m a problem or I’m the problem solver.\u003c/p>\n\u003cp>\u003cem>Pen: And for our folks who are unclear, what does agape mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Unconditional love and the love of God, give you the unconditional love, that’s agape.\u003c/p>\n\u003cp>\u003cem>Pen: Looking at what you’re doing right now with Grand Nationxl collective, it seems like there’s a lot of love in that collective. You’re working with 10-dozen producers?\u003c/em>\u003c/p>\n\u003cp>Champ Green: I’ve been blessed to be a part of teams who kind of run ocean 12 or 13 or 11 game, which in order to get the job done, we have to be very, very good, or excellent. It’s like a real life Henry Ford machine. So the assembly line is heavy with a plethora of knowledge, a plethora of game and a potluck of camaraderie to the point where we get the job done and pull off the heist, respectfully.\u003c/p>\n\u003cp>\u003cem>Pen: Respectfully [[laughs]]… the Bay Area it breeds a lot of linguists, ya know obviously E40 is of it. But did the Bay influence [your wordplay ability] as well?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Of course, most definitely. I think also, when we speak of hip hop, I’m damn, near just as old as hip hop. I think I’m forty two. So I have front row seats to the game. Right. And then I had three older siblings and I was just able to be saturated in it.\u003c/p>\n\u003cp>Champ Green: And also growing up in Oakland, every turf got their own little slang… it could be a bunch of your partners, y’all say what your little slick word, and then it could spread like wildfire because one of your partners may stay in the West and the other partner me stay in a Deep East and the other partna stay in Richmond and it’ll become a thing. So, in the words of Mac Mall, “serving game is my occupation.”\u003c/p>\n\u003cp>\u003cem>Pen: But you individually have a lexicon that you go through that you pull from. And I just wanted to break down just a couple of terms that I want to hear you define them. So when you say things like “…Who’s selling peanuts?… They going to George Washington Carve they niche out out this game.” What does that mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Everybody’s always focused on the big, you know, “I need to do it big like this”, but a peanut is small. So, I mean, you gotta start small to get big, but who really going to sell some peanuts who really gonna be on the front line in this underground railroad. You know, speaking the Sojourner Truth…\u003c/p>\n\u003cp>\u003cem>Pen: Essentially like, who’s selling peanuts, who’s doing the grunt work with historical context?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Exactly… Then the inventor of peanut butter is George Washington Carver, right? He came up with roasted peanuts, peanuts in different ways. So how are you going to George Washington carve your niche out?\u003c/p>\n\u003cp>\u003cem>Pen: In your latest album, Agape Elephant in the Room, you released a single with Ian Kelly on that single. You have just crazy wordplay back and forth. That I wanted to quote, I might get it wrong so correct me if I do, but you go “longitude, latitude, horizontal, parallel telephone next person nextel communicate plant seed bean stock sky high sky’s limit moonwalk. HBCU…” The way that one thing leads to the next from the outside perspective, is almost like looking at a slinky go down stairs.\u003c/em>\u003c/p>\n\u003cp>Champ Green: OK\u003c/p>\n\u003cp>\u003cem>Pen: From the inside. How does your brain work ?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Umm So, so I’m left handed. Right.\u003c/p>\n\u003cp>\u003cem>Pen: [laughs]\u003c/em>\u003c/p>\n\u003cp>Champ Green: Right, so i’m coming from the other side of the brain. But at the same time, my dominant hand is my left hand. But like, I play basketball and I shoot with my right. So I’ll be serving ambidextrous game at the same time in rare form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci data-stringify-type=\"italic\">Over 4 weeks, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish is featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003cbr>\n\u003c/i>\u003c/p>\n\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=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> is probably your favorite Bay Area rapper’s favorite rapper. He’s been putting in work for some time, and over the past calendar year he’s been on a music-making mission. And he’s not showing any signs of slowing.\u003c/p>\n\u003cfigure id=\"attachment_13892652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13892652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-1-1-800x718.jpg\" alt='An illustration of Champ Green on the outside of a \"Hella Nuts\" Grounded Walnut Meat bag. You can see him smiling in the bottom right corner of the bag as he bites into a burger.' width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Champ Green on the outside of “Hella Nuts” \u003ccite>(Mieko Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His clever wordplay and wisdom-filled rhymes can be found on a project \u003ca href=\"https://rootsandbranches.bandcamp.com/track/seed-15\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Basta\u003c/a>, a recent single and video \u003ca href=\"https://www.youtube.com/watch?v=tdzxSP1RWjc\" target=\"_blank\" rel=\"noopener noreferrer\">with Mistah FAB\u003c/a>, and multiple tracks with \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">the Grand Nationxl collective\u003c/a>. And next week he’s scheduled to release \u003cem>Pleasantly Plump 2\u003c/em> \u003ca href=\"https://www.instagram.com/p/CLFoxt8sgek/\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Twelvz\u003c/a>.\u003c/p>\n\u003cp>While his wordplay is on tracks, his face is on food. You can find him smiling on the packaging of the local plant-based food company \u003ca href=\"https://www.instagram.com/hella_nuts/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Nuts,\u003c/a> breaking stereotypes on what health looks like.\u003c/p>\n\u003cp>On top of all that, Champ, a friend of mine, is the walking embodiment of love. His latest project, \u003cem>Agape Elephant in The Room\u003c/em>, which dropped in December, is a testament to that love– and how it often gets overlooked.\u003c/p>\n\u003cp>Even with the competitive nature of the rap game, Champ says love has to be acknowledged. Today we talk about how Champ got love from his mother, game from the Town, and with each bar he spits he gives it all back.\u003c/p>\n\u003cfigure id=\"attachment_13892632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg\" alt=\"Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n.jpg 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background. \u003ccite>(Courtesy of Champ Gree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Champ Green.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Your most recent project was “Agape Elephant in the Room.” Why was that the title?\u003c/em>\u003c/p>\n\u003cp>Champ Green: It derived from the elephant in the room, so everybody says they don’t see the elephant, right? But it’s plain as day. So I’m the elephant with the big love in the room. Depending on the way you view it, either, I’m a problem or I’m the problem solver.\u003c/p>\n\u003cp>\u003cem>Pen: And for our folks who are unclear, what does agape mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Unconditional love and the love of God, give you the unconditional love, that’s agape.\u003c/p>\n\u003cp>\u003cem>Pen: Looking at what you’re doing right now with Grand Nationxl collective, it seems like there’s a lot of love in that collective. You’re working with 10-dozen producers?\u003c/em>\u003c/p>\n\u003cp>Champ Green: I’ve been blessed to be a part of teams who kind of run ocean 12 or 13 or 11 game, which in order to get the job done, we have to be very, very good, or excellent. It’s like a real life Henry Ford machine. So the assembly line is heavy with a plethora of knowledge, a plethora of game and a potluck of camaraderie to the point where we get the job done and pull off the heist, respectfully.\u003c/p>\n\u003cp>\u003cem>Pen: Respectfully [[laughs]]… the Bay Area it breeds a lot of linguists, ya know obviously E40 is of it. But did the Bay influence [your wordplay ability] as well?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Of course, most definitely. I think also, when we speak of hip hop, I’m damn, near just as old as hip hop. I think I’m forty two. So I have front row seats to the game. Right. And then I had three older siblings and I was just able to be saturated in it.\u003c/p>\n\u003cp>Champ Green: And also growing up in Oakland, every turf got their own little slang… it could be a bunch of your partners, y’all say what your little slick word, and then it could spread like wildfire because one of your partners may stay in the West and the other partner me stay in a Deep East and the other partna stay in Richmond and it’ll become a thing. So, in the words of Mac Mall, “serving game is my occupation.”\u003c/p>\n\u003cp>\u003cem>Pen: But you individually have a lexicon that you go through that you pull from. And I just wanted to break down just a couple of terms that I want to hear you define them. So when you say things like “…Who’s selling peanuts?… They going to George Washington Carve they niche out out this game.” What does that mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Everybody’s always focused on the big, you know, “I need to do it big like this”, but a peanut is small. So, I mean, you gotta start small to get big, but who really going to sell some peanuts who really gonna be on the front line in this underground railroad. You know, speaking the Sojourner Truth…\u003c/p>\n\u003cp>\u003cem>Pen: Essentially like, who’s selling peanuts, who’s doing the grunt work with historical context?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Exactly… Then the inventor of peanut butter is George Washington Carver, right? He came up with roasted peanuts, peanuts in different ways. So how are you going to George Washington carve your niche out?\u003c/p>\n\u003cp>\u003cem>Pen: In your latest album, Agape Elephant in the Room, you released a single with Ian Kelly on that single. You have just crazy wordplay back and forth. That I wanted to quote, I might get it wrong so correct me if I do, but you go “longitude, latitude, horizontal, parallel telephone next person nextel communicate plant seed bean stock sky high sky’s limit moonwalk. HBCU…” The way that one thing leads to the next from the outside perspective, is almost like looking at a slinky go down stairs.\u003c/em>\u003c/p>\n\u003cp>Champ Green: OK\u003c/p>\n\u003cp>\u003cem>Pen: From the inside. How does your brain work ?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Umm So, so I’m left handed. Right.\u003c/p>\n\u003cp>\u003cem>Pen: [laughs]\u003c/em>\u003c/p>\n\u003cp>Champ Green: Right, so i’m coming from the other side of the brain. But at the same time, my dominant hand is my left hand. But like, I play basketball and I shoot with my right. So I’ll be serving ambidextrous game at the same time in rare form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sidewalk Serenade Brings Valentine's Day Spirit to Seniors Stuck Indoors at Channing House",
"headTitle": "Sidewalk Serenade Brings Valentine’s Day Spirit to Seniors Stuck Indoors at Channing House | KQED",
"content": "\u003cp>Nova Jimenez sets up her mic, music stand and portable amp on the sidewalk across the parking lot from \u003ca href=\"https://channinghouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Channing House\u003c/a>, where around 250 seniors call the austere, 11-storey concrete building in Palo Alto home.\u003c/p>\n\u003cp>“Hello, Channing House! Oh, dear friends, I’m so happy to see you!” says the singer into her mic. “I come to sing for you a few Valentine’s Day songs and some inspirational songs. Let’s get started!”\u003c/p>\n\u003cp>Jiminez is no stranger to this type of concert — she’s spent nearly every weekend since last May performing her “sidewalk serenades” for frontline workers and isolated individuals in the San Francisco Bay Area as a response to the COVID-19 pandemic.\u003c/p>\n\u003cp>The professional soprano’s varied repertoire includes the Italian opera composer Ruggero Leoncavallo’s “Mattinata,” the vintage American musical number “The Way You Look Tonight” by Jerome Kern and Dorothy Fields, and “Show Yourself” from \u003cem>Frozen 2\u003c/em> by Kristen Anderson-Lopez and Bobby Lopez.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FTnuzqNb1JQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the third time Jimenez has sung outside Channing House since the pandemic started. She had previously performed \u003cem>inside\u003c/em> the senior residential facility, as part of its live events series. (The series, like all of the facility’s live events, was canceled last spring as lockdown orders went into effect.)\u003c/p>\n\u003cp>Dozens of residents appear on their balconies and in the parking lot to listen, as they did when the singer last serenaded them, around the holidays.\u003c/p>\n\u003cp>“We enjoyed it very much at Christmas!” says resident George Young.\u003c/p>\n\u003cp>“It was just so touching to hear her sing and also to see the residents out on their balconies enjoying her performance,” says Channing House CEO Rhonda Bekkedahl. “Any time we get a little bright spot in our day during these times, it’s just a really wonderful thing.”\u003c/p>\n\u003cfigure id=\"attachment_13892681\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47196_channing-house-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Around 250 seniors live at Channing House in Palo Alto. Some of them took to their balconies to hear Nova Jimenez sing. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time, wearing a dress emblazoned with red peonies and white daisies, Jimenez exudes the spirit of springtime and romance as she launches into crowd-pleasing classics like “La Vie En Rose.”\u003c/p>\n\u003cp>But life has been far from rosy for the residents of Channing House this past year. They’ve endured two COVID-19 outbreaks. Five people have died. It’s been a time of loss and confinement.\u003c/p>\n\u003cp>“The residents are really limited in what they can do,” says Bekkedahl. “We’re not allowed to permit any visitors to come into the building. So that’s been a real challenge. It’s just been the hardest time.”\u003c/p>\n\u003cp>Jimenez’s sidewalk serenades provide the residents with a much-needed break.\u003c/p>\n\u003cp>“It’s a little bit of a breath of fresh air from the outside world,” says resident Tom Fiene. “We’ve been pretty well isolated here for many months.”\u003c/p>\n\u003cp>“She’s got a lot of pizzazz and she’s just fun,” says his wife, Nancy Fiene. “We were up on our balcony when she was here before and we were dancing up there, but we decided to come down here this time.”\u003c/p>\n\u003cfigure id=\"attachment_13892682\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channing House residents George Young, Nancy Fiene and Tom Fiene. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jimenez says she’s always turned to singing in difficult times. It’s the first thing she did, alone at home, when the pandemic hit.\u003c/p>\n\u003cp>“And then here I am singing by myself, and I thought, well, maybe, maybe someone wants to hear me? I don’t know,” she says.\u003c/p>\n\u003cp>The singer placed an ad on the online community site NextDoor offering her services for free to frontline workers, or anyone homebound or isolated due to the pandemic, and in need of a little uplift.\u003c/p>\n\u003cp>The response has been enthusiastic. Jimenez says she’s performed more than 50 outdoor serenades during the pandemic, for audiences as varied as E.R. doctors and nurses, mail workers and nursery school kids and teachers.\u003c/p>\n\u003cp>The latest concert at Channing House even involves a singalong.\u003c/p>\n\u003cp>“I want you to feel like you’re going to just let it out and sing to the heavens!” instructs Jimenez before explaining how to sing the chorus from “A Brand New Day”, a number from the 1974 musical \u003cem>The Wiz\u003c/em>.\u003c/p>\n\u003cp>This optimistic song might resonate with the residents of Channing House, because they just recently received the COVID-19 vaccine.\u003c/p>\n\u003cp>“I can’t wait till I can come in person and sing for you all in your beautiful auditorium again,” Jimenez tells her audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe it won’t be too long before the singer will be able to say farewell to the sidewalk and bring her serenade indoors.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nova Jimenez sets up her mic, music stand and portable amp on the sidewalk across the parking lot from \u003ca href=\"https://channinghouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Channing House\u003c/a>, where around 250 seniors call the austere, 11-storey concrete building in Palo Alto home.\u003c/p>\n\u003cp>“Hello, Channing House! Oh, dear friends, I’m so happy to see you!” says the singer into her mic. “I come to sing for you a few Valentine’s Day songs and some inspirational songs. Let’s get started!”\u003c/p>\n\u003cp>Jiminez is no stranger to this type of concert — she’s spent nearly every weekend since last May performing her “sidewalk serenades” for frontline workers and isolated individuals in the San Francisco Bay Area as a response to the COVID-19 pandemic.\u003c/p>\n\u003cp>The professional soprano’s varied repertoire includes the Italian opera composer Ruggero Leoncavallo’s “Mattinata,” the vintage American musical number “The Way You Look Tonight” by Jerome Kern and Dorothy Fields, and “Show Yourself” from \u003cem>Frozen 2\u003c/em> by Kristen Anderson-Lopez and Bobby Lopez.\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/FTnuzqNb1JQ'\n title='//www.youtube.com/embed/FTnuzqNb1JQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the third time Jimenez has sung outside Channing House since the pandemic started. She had previously performed \u003cem>inside\u003c/em> the senior residential facility, as part of its live events series. (The series, like all of the facility’s live events, was canceled last spring as lockdown orders went into effect.)\u003c/p>\n\u003cp>Dozens of residents appear on their balconies and in the parking lot to listen, as they did when the singer last serenaded them, around the holidays.\u003c/p>\n\u003cp>“We enjoyed it very much at Christmas!” says resident George Young.\u003c/p>\n\u003cp>“It was just so touching to hear her sing and also to see the residents out on their balconies enjoying her performance,” says Channing House CEO Rhonda Bekkedahl. “Any time we get a little bright spot in our day during these times, it’s just a really wonderful thing.”\u003c/p>\n\u003cfigure id=\"attachment_13892681\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47196_channing-house-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47196_channing-house-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Around 250 seniors live at Channing House in Palo Alto. Some of them took to their balconies to hear Nova Jimenez sing. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This time, wearing a dress emblazoned with red peonies and white daisies, Jimenez exudes the spirit of springtime and romance as she launches into crowd-pleasing classics like “La Vie En Rose.”\u003c/p>\n\u003cp>But life has been far from rosy for the residents of Channing House this past year. They’ve endured two COVID-19 outbreaks. Five people have died. It’s been a time of loss and confinement.\u003c/p>\n\u003cp>“The residents are really limited in what they can do,” says Bekkedahl. “We’re not allowed to permit any visitors to come into the building. So that’s been a real challenge. It’s just been the hardest time.”\u003c/p>\n\u003cp>Jimenez’s sidewalk serenades provide the residents with a much-needed break.\u003c/p>\n\u003cp>“It’s a little bit of a breath of fresh air from the outside world,” says resident Tom Fiene. “We’ve been pretty well isolated here for many months.”\u003c/p>\n\u003cp>“She’s got a lot of pizzazz and she’s just fun,” says his wife, Nancy Fiene. “We were up on our balcony when she was here before and we were dancing up there, but we decided to come down here this time.”\u003c/p>\n\u003cfigure id=\"attachment_13892682\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47193_george-nancy-tom-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channing House residents George Young, Nancy Fiene and Tom Fiene. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jimenez says she’s always turned to singing in difficult times. It’s the first thing she did, alone at home, when the pandemic hit.\u003c/p>\n\u003cp>“And then here I am singing by myself, and I thought, well, maybe, maybe someone wants to hear me? I don’t know,” she says.\u003c/p>\n\u003cp>The singer placed an ad on the online community site NextDoor offering her services for free to frontline workers, or anyone homebound or isolated due to the pandemic, and in need of a little uplift.\u003c/p>\n\u003cp>The response has been enthusiastic. Jimenez says she’s performed more than 50 outdoor serenades during the pandemic, for audiences as varied as E.R. doctors and nurses, mail workers and nursery school kids and teachers.\u003c/p>\n\u003cp>The latest concert at Channing House even involves a singalong.\u003c/p>\n\u003cp>“I want you to feel like you’re going to just let it out and sing to the heavens!” instructs Jimenez before explaining how to sing the chorus from “A Brand New Day”, a number from the 1974 musical \u003cem>The Wiz\u003c/em>.\u003c/p>\n\u003cp>This optimistic song might resonate with the residents of Channing House, because they just recently received the COVID-19 vaccine.\u003c/p>\n\u003cp>“I can’t wait till I can come in person and sing for you all in your beautiful auditorium again,” Jimenez tells her audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe it won’t be too long before the singer will be able to say farewell to the sidewalk and bring her serenade indoors.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And to my amazing musician friends who have been like family to me as long as I’ve known you: It has been a blessing and an honor learning from and playing with all of you. My mission has always been to bring the joy of creating anywhere I could, and to have done so with all the artists that I admire so dearly — this has been the richness of my life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/15IHNYq6stw\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Chick+Corea%2C+Jazz+Fusion+Pioneer%2C+Has+Died+Of+Cancer+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Taylor Swift Announces Remake of 'Fearless,' Due in April",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> has kept famously busy in pandemic times: On the heels of 2019’s \u003cem>Lover\u003c/em> and a 2020 Netflix documentary, she’s released two albums in the past seven months alone, all while fighting a public battle for control of her past recordings. Now, she’s got another announcement: She’s releasing a rerecorded and expanded version of her 2008 album \u003cem>Fearless\u003c/em> in April, titled \u003cem>Fearless (Taylor’s Version)\u003c/em>. At midnight Friday, she’ll drop its first single, “Love Story (Taylor’s Version).” It’s one of 26 songs slated for the \u003cem>Fearless\u003c/em> remake, which will include re-recordings of not only the original album, but also \u003cem>Fearless\u003c/em>‘ many outtakes and bonus tracks. Six have never been released in any form. In a Twitter post Thursday morning, Swift provided some context for the new recordings.\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/1359854050544615425\u003c/p>\n\u003cp>“I’ve spoken a lot about why I’m remaking my first six albums,” she wrote, “but the way I’ve chosen to do this will hopefully help illuminate where I’m coming from. Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work. For example, only I know which songs I wrote that almost made the \u003cem>Fearless\u003c/em> album. Songs I absolutely adored, but were held back for different reasons (don’t want too many breakup songs, don’t want too many down tempo songs, can’t fit that many songs on a physical CD).” [aside postid='arts_13874070']\u003c/p>\n\u003cp>Swift has feuded publicly with her former label, Big Machine, which released her first six albums, including \u003cem>Fearless\u003c/em>. The singer \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">announced in 2019\u003c/a> that she’d record and release new versions of that music as a way of regaining control after Big Machine was sold to an umbrella company owned by Scooter Braun, an industry figure with whom Swift has had many public differences.\u003c/p>\n\u003cp>The original \u003cem>Fearless\u003c/em> won Album of the Year at the 2009 Grammy Awards. Next month, she’ll learn if 2020’s \u003cem>folklore\u003c/em> meets the same fate: That record earned her six Grammy nominations, including Album of the Year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8xg3vE8Ie_E\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=Taylor+Swift+Announces+Remake+Of+%27Fearless%2C%27+Due+In+April&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I’ve spoken a lot about why I’m remaking my first six albums,” she wrote, “but the way I’ve chosen to do this will hopefully help illuminate where I’m coming from. Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work. For example, only I know which songs I wrote that almost made the \u003cem>Fearless\u003c/em> album. Songs I absolutely adored, but were held back for different reasons (don’t want too many breakup songs, don’t want too many down tempo songs, can’t fit that many songs on a physical CD).” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift has feuded publicly with her former label, Big Machine, which released her first six albums, including \u003cem>Fearless\u003c/em>. The singer \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">announced in 2019\u003c/a> that she’d record and release new versions of that music as a way of regaining control after Big Machine was sold to an umbrella company owned by Scooter Braun, an industry figure with whom Swift has had many public differences.\u003c/p>\n\u003cp>The original \u003cem>Fearless\u003c/em> won Album of the Year at the 2009 Grammy Awards. Next month, she’ll learn if 2020’s \u003cem>folklore\u003c/em> meets the same fate: That record earned her six Grammy nominations, including Album of the Year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the 1920s, the Russian physicist Leon Theremin debuted an electronic instrument that could be played without any physical contact. Players stood in front of a box and waved their hands over antennas, \u003ca href=\"https://www.youtube.com/watch?v=w5qf9O6c20o\" target=\"_blank\" rel=\"noopener noreferrer\">summoning otherworldly sounds\u003c/a> seemingly from thin air. The theremin might have been regarded as a passing novelty if not for the late \u003ca href=\"http://nadiareisenberg-clararockmore.org/clara-rockmore-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Rockmore\u003c/a>, a virtuoso who helped to refine the instrument’s design, and wowed concert hall audiences with her performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pSzTPGlNa5U\u003c/p>\n\u003cp>Rockmore is but a single figure in a long line of women who have changed the shape and sound of modern music—often invisibly, says filmmaker Lisa Rovner. “I think when most people think of electronic music, in most cases they’ll picture men pushing the buttons, the knobs, and the boundaries.” [aside postid='pop_92372']\u003c/p>\n\u003cp>Rovner’s new documentary, \u003ca href=\"https://sisterswithtransistors.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sisters with Transistors\u003c/em>\u003c/a>, corrects the record. Narrated by \u003ca href=\"https://laurieanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Anderson\u003c/a>, the film celebrates the achievements of early pioneers such as Daphne Oram, who was hired by the BBC as a studio engineer in the 1940s. After hours, Oram began recording and manipulating sounds on magnetic tape, experiments that led to the co-founding of the BBC’s Radiophonic Workshop in 1958. Another pioneer, Delia Derbyshire, crafted sounds for nearly 200 BBC programs, including the \u003ca href=\"https://youtu.be/75V4ClJZME4\" target=\"_blank\" rel=\"noopener noreferrer\">iconic theme music for the sci-fi series \u003cem>Doctor Who\u003c/em>\u003c/a>\u003cem>,\u003c/em> which debuted in 1963.\u003c/p>\n\u003cp>Modular synthesizers soon followed, and the development of the first commercially available models was guided by women. \u003ca href=\"http://www.wendycarlos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Carlos\u003c/a> advised Robert Moog on the design of the first keyboard-based model, and introduced it to the general public on her 1968 album, \u003cem>Switched-On Bach\u003c/em>, which sold more than a million copies. \u003ca href=\"https://www.sevwave.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Suzanne Ciani\u003c/a> realized the \u003ca href=\"https://youtu.be/7vZGeHBfxU0\" target=\"_blank\" rel=\"noopener noreferrer\">creative potential\u003c/a> of a contemporaneous system designed by Don Buchla, which allowed artists to patch components together to control characteristics of sound such as pitch and timbre.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Juilliard-trained composer \u003ca href=\"http://retiary.org/ls/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Laurie Spiegel\u003c/a> describes these technologies as revolutionary. “The way composing was previously done was you wrote on a piece of paper, with a pencil, a set of instructions for someone else to make music,” she recalls. Free to realize her own creative vision, Spiegel programmed computer-based music generation systems while working as a researcher at Bell Labs in the 1970s. She was able to fashion \u003ca href=\"https://www.youtube.com/watch?v=BUgSJt7Q7gw\" target=\"_blank\" rel=\"noopener noreferrer\">entirely new sounds, as well as variations within sound itself\u003c/a>, and share her music directly with audiences.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=22PRZO2HnJE\u003c/p>\n\u003cp>In 1977, Spiegel’s work caught the attention of NASA. Her \u003ca href=\"https://youtu.be/ErT83n_YdGs\" target=\"_blank\" rel=\"noopener noreferrer\">musical interpretation\u003c/a> of Johannes Kepler’s “Harmonices Mundi” was included on the Voyager Golden Records, launched into space to represent all of humankind. However, she is quick to point out that she is too often seen as an anomaly. Spiegel recalled being part of an active community of women who were affiliated with university-based and non-profit electronic music studios in and around New York City. Some of those studios, such as \u003ca href=\"https://www.harvestworks.org/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Harvestworks\u003c/a>, are still around today. [aside postid='arts_13892242']\u003c/p>\n\u003cp>In a sense, all music is “electronic” now, since digital technology is a ubiquitous part of how tracks and albums are made and consumed. But composer Yvette Janine Jackson, \u003ca href=\"https://www.fridmangallery.com/product-page/yvette-janine-jackson-freedom\" target=\"_blank\" rel=\"noopener noreferrer\">whose work explores historical events and current social issues\u003c/a>, says there is still plenty of room for innovation and legacy building.\u003c/p>\n\u003cp>“My creative journey with electronic music has been centered around trying to find a voice,” says Jackson, “an African American voice, a queer voice, a female voice, the intersection of these voices.” She hopes tomorrow’s creators will have expanded access to tools, and receive greater recognition for their work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Having premiered at SXSW in 2020, \u003cem>Sisters with Transistors\u003c/em> has screened at prestigious U.S. and international festivals, including Sundance and the AFI. It is slated for national release on virtual cinema platforms early this spring.\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=%27Sisters+With+Transistors%27%3A+Pioneers+Of+Electronic+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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