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"content": "\u003ch2>1.\u003c/h2>\n\u003cp>I was 24 when I first met John Prine. \u003c/p>\n\u003cp>He’d been on stage earlier that night, and a group of fans had gathered by the stage door. John talked to each and every one, including me, as I stuttered out a your-music-has-gotten-me-through-some-hard-times speech that he’d surely heard a hundred times before. In the process, I recited \u003ca href=\"https://www.youtube.com/watch?v=4iyyhnNIKe4\" rel=\"noopener noreferrer\" target=\"_blank\">some of his own lyrics\u003c/a> back to him that had helped, and that he’d surely sung thousands of times:\u003c/p>\n\u003cp>\u003cem>You can gaze out your window, get mad and get madder\u003c/em>\u003cbr>\n\u003cem>Throw your hands in the air, say ‘what does it matter’\u003c/em>\u003cbr>\n\u003cem>But it don’t do no good to get angry, so help me, I know\u003c/em>\u003c/p>\n\u003cp>He was gracious about it, of course. For a guy whose songs involved so many small things—old pawn shops, frozen bathtub water, being scared of bees—it was the big-question songs that people always wanted to quote to him. The ones about age, memory, death. “Hello in There.” “Souvenirs.” “Angel From Montgomery.”\u003c/p>\n\u003cp>But in time, I grew to understand Prine’s focus on the little things. It’s a tool that songwriters talk about often: show, don’t tell. As I got older, I understood that “A heart stained in anger grows weak and grows bitter” was powerful, sure, but no more powerful than “There was four Italian sausages cooking on the outdoor grill, and man, they were \u003cem>ssssssssizzlin’\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>2.\u003c/h2>\n\u003cp>Somewhere in the middle of those two opposites in John Prine’s music, the big stuff and the small details, lay “\u003ca href=\"https://www.youtube.com/watch?v=vXqWdF0L4F4\" rel=\"noopener noreferrer\" target=\"_blank\">The Late John Garfield Blues\u003c/a>.” When I lived alone, subsisting on ramen and scotch in a tiny downtown apartment, I gravitated to the song. Prine sang of everyday things like broken lamppost bulbs and fish that don’t bite, and in the middle, the big life revelations:\u003c/p>\n\u003cp>\u003cem>Old man sleeps with his conscience at night, young kid sleeps with his dreams\u003c/em>\u003cbr>\n\u003cem>While the mentally ill sit perfectly still and live through life’s in-betweens\u003c/em>\u003c/p>\n\u003cp>I’d play it over and over on my guitar, and sing the words, meditating on my condition. Was I veering toward mental illness? Was I just lonesome? Was there a difference? And why John Garfield, of all people?\u003c/p>\n\u003cp>Fast-forward a few years and I’m on the phone with Kris Kristofferson. He \u003ca href=\"https://www.youtube.com/watch?v=WJwToR_Nokw\" rel=\"noopener noreferrer\" target=\"_blank\">covered\u003c/a> “The Late John Garfield Blues” a few times, so I asked him what the song was about. “Oh, I’ll tell you a funny story about that song,” he said.\u003c/p>\n\u003cp>Kristofferson told me that when he was living at Rita Coolidge’s place in Hollywood, he bought Prine’s latest album \u003cem>Diamonds in the Rough\u003c/em> one day and was playing it on the turntable. “And it got to that song, and it kept stopping in that song! I said ‘What the hell’s wrong with this thing?’” Kristofferson said.\u003c/p>\n\u003cp>“And we looked at the title, ‘The Late John Garfield Blues,’ and Rita said, ‘My God. \u003cem>This\u003c/em> was John Garfield’s house!’ There we were in John Garfield’s old house, and the record stopped twice to call our attention to it.”\u003c/p>\n\u003cp>A mysterious happening for an even more mysterious tune. “As to what it’s about?” Kristofferson added. “God, I don’t know. But I love the song.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vXqWdF0L4F4\u003c/p>\n\u003ch2>3.\u003c/h2>\n\u003cp>I saw John Prine five or six times. I watched him sing “Angel From Montgomery” with Bonnie Raitt, “Paradise” with Todd Snider, “In Spite of Ourselves” with Iris Dement. That last one was special: he’d just beaten throat cancer, and had a hit comeback with \u003cem>In Spite of Ourselves\u003c/em>, an album of duets about cheating and infidelity. \u003c/p>\n\u003cp>At every show I saw, Prine was showered with adoration, and not just from the fans. Once, at a songwriters-in-the-round benefit with Emmylou Harris, Steve Earle, Bruce Cockburn and Nanci Griffith, I witnessed the obvious reverence they all had for Prine when he sang. \u003c/p>\n\u003cp>His songs were covered by classic country singers like Johnny Cash, new country singers like Miranda Lambert, and rock bands like R.E.M. It was proof that his songs crossed generations, genres, and borders. (Imagine what a rap producer could do with the line “You know what blood looks like in a black and white video? / Shadows / \u003cem>Shhhhhhadows!\u003c/em>”)\u003c/p>\n\u003cp>Once, at the Hardly Strictly Bluegrass festival in Golden Gate Park, I climbed a tree to catch a glimpse of Prine’s set. From my perch, I could see the meadow overflowing with people, spilling into the bushes, over the fences, and high up on any hill that would provide a view. It was an incredible sight. \u003c/p>\n\u003cp>He was loved that much.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>4.\u003c/h2>\n\u003cp>At the record store, I ran into some musician friends, Henry and Brian. “Hey,” I suggested, “John Prine’s not gonna live forever. What say we put together a set of his songs so we can play a tribute show for him when he dies?”\u003c/p>\n\u003cp>“Why wait until he dies?” Henry replied.\u003c/p>\n\u003cp>And so last year, we started rehearsing together, once a week, in Henry’s living room. We didn’t have to practice too hard; the songs ran in our blood. “Illegal Smile.” “Fish and Whistle.” “The Great Compromise.” \u003c/p>\n\u003cp>In every corner of Prine’s catalog, we found unexpected riches beyond the well-known hits. “Grandpa Was a Carpenter,” an ode to ancestry and the simple life. “Clocks and Spoons,” a sweet lullaby. “Sabu Visits the Twin Cities Alone,” a quirky story about a child actor and his manager. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’d play and sing, dissect the songs, tell stories about how they related to various phases of our lives, and ask ourselves things like, “Is there anything more heartbreaking than ‘\u003ca href=\"https://www.youtube.com/watch?v=_ujOTP8oPpY\" rel=\"noopener noreferrer\" target=\"_blank\">Far From Me\u003c/a>?’”:\u003c/p>\n\u003cp>\u003cem>Why we used to laugh together, and we’d dance to any old song\u003c/em>\u003cbr>\n\u003cem>Well you know, she still laughs with me, but she waits just a second too long\u003c/em>\u003c/p>\n\u003cp>We worked up over 20 of his songs, and were ready for the big tribute show. And wouldn’t you know it, right when John Prine died, we weren’t allowed to perform them, by law. I can just imagine him looking down at us and laughing, and saying: \u003cem>that’s the way the world goes ’round.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13824006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24.jpg 909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>5.\u003c/h2>\n\u003cp>John Prine called my house one morning a few years back. We talked for 15 minutes, a typical phone interview to promote a concert in town. He’d just put out \u003cem>The Tree of Forgiveness\u003c/em>, his final album.\u003c/p>\n\u003cp>“I think everybody needs a little forgiveness,” Prine told me. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>I didn’t think to ask what he needed to forgive himself for. Instead, we talked about things that excited him: reading newspapers, meeting younger fans, buying old cars on eBay late at night. \u003c/p>\n\u003cp>He was excited, too, that the United States had term limits, and the fact that Trump “can’t be in there for more than eight years,” he said, adding, “I’m hoping he’s out of there in four.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>6.\u003c/h2>\n\u003cp>On Tuesday, I was reading that Trump \u003ca href=\"https://www.washingtonpost.com/national-security/trump-removes-inspector-general-who-was-to-oversee-2-trillion-stimulus-spending/2020/04/07/2f0c6cb8-78ea-11ea-9bee-c5bf9d2e3288_story.html\" rel=\"noopener noreferrer\" target=\"_blank\">fired the inspector general assigned to oversee the $2.2 trillion coronavirus relief bill\u003c/a>, and thinking about words like dictatorship and kleptocracy, as one does these days. And then I saw that Prine had died. \u003c/p>\n\u003cp>I walked around my neighborhood in a daze. I knew it was coming, but the cause and the timing angered me. Prine died from the coronavirus, which Trump \u003ca href=\"https://www.washingtonpost.com/politics/2020/03/12/trump-coronavirus-timeline/\" rel=\"noopener noreferrer\" target=\"_blank\">spectacularly downplayed\u003c/a> for months, delaying preventative, life-saving measures. Now, as news of Prine’s death arrived, the president was ridding the government of those seen as disloyal, and effectively securing a blank checkbook for himself. It was all too much: the ascendancy of corruption and the death of good.\u003c/p>\n\u003cp>For comfort, I started singing “\u003ca href=\"https://www.youtube.com/watch?v=kJ7sc9Cbuiw\" rel=\"noopener noreferrer\" target=\"_blank\">Souvenirs\u003c/a>,” blending it with “\u003ca href=\"https://www.youtube.com/watch?v=OLVWEYUqGew\" rel=\"noopener noreferrer\" target=\"_blank\">Sam Stone\u003c/a>”—with the line “sweet songs never last too long on broken radios.” But I could only think about how our radio is broken, and how John Prine was the sweetest song of all.\u003c/p>\n\u003cp>Then I tried singing “\u003ca href=\"https://www.youtube.com/watch?v=nmgYCI3OWw4\" rel=\"noopener noreferrer\" target=\"_blank\">Please Don’t Bury Me\u003c/a>,” one of Prine’s many songs about dying, with the part about giving his ears to the deaf “if they don’t mind the size.” A funny line, but I couldn’t bring myself to laugh. \u003c/p>\n\u003cp>But then something else happened as I walked around. I noticed the small things, for a change. I poked my head inside a ’73 Volkswagen bug and studied the dashboard. I passed a few cats sitting in driveways, regal and unwilling to be pet. I examined the bark of a magnolia tree, which I’d never considered before. I watched a few people outside the old folks’ home, sitting on the bench talking, like they always do.\u003c/p>\n\u003cp>I breathed a little easier. It was the quilt of little things that make up a life.\u003c/p>\n\u003cp>It all felt like a John Prine song. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>1.\u003c/h2>\n\u003cp>I was 24 when I first met John Prine. \u003c/p>\n\u003cp>He’d been on stage earlier that night, and a group of fans had gathered by the stage door. John talked to each and every one, including me, as I stuttered out a your-music-has-gotten-me-through-some-hard-times speech that he’d surely heard a hundred times before. In the process, I recited \u003ca href=\"https://www.youtube.com/watch?v=4iyyhnNIKe4\" rel=\"noopener noreferrer\" target=\"_blank\">some of his own lyrics\u003c/a> back to him that had helped, and that he’d surely sung thousands of times:\u003c/p>\n\u003cp>\u003cem>You can gaze out your window, get mad and get madder\u003c/em>\u003cbr>\n\u003cem>Throw your hands in the air, say ‘what does it matter’\u003c/em>\u003cbr>\n\u003cem>But it don’t do no good to get angry, so help me, I know\u003c/em>\u003c/p>\n\u003cp>He was gracious about it, of course. For a guy whose songs involved so many small things—old pawn shops, frozen bathtub water, being scared of bees—it was the big-question songs that people always wanted to quote to him. The ones about age, memory, death. “Hello in There.” “Souvenirs.” “Angel From Montgomery.”\u003c/p>\n\u003cp>But in time, I grew to understand Prine’s focus on the little things. It’s a tool that songwriters talk about often: show, don’t tell. As I got older, I understood that “A heart stained in anger grows weak and grows bitter” was powerful, sure, but no more powerful than “There was four Italian sausages cooking on the outdoor grill, and man, they were \u003cem>ssssssssizzlin’\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>2.\u003c/h2>\n\u003cp>Somewhere in the middle of those two opposites in John Prine’s music, the big stuff and the small details, lay “\u003ca href=\"https://www.youtube.com/watch?v=vXqWdF0L4F4\" rel=\"noopener noreferrer\" target=\"_blank\">The Late John Garfield Blues\u003c/a>.” When I lived alone, subsisting on ramen and scotch in a tiny downtown apartment, I gravitated to the song. Prine sang of everyday things like broken lamppost bulbs and fish that don’t bite, and in the middle, the big life revelations:\u003c/p>\n\u003cp>\u003cem>Old man sleeps with his conscience at night, young kid sleeps with his dreams\u003c/em>\u003cbr>\n\u003cem>While the mentally ill sit perfectly still and live through life’s in-betweens\u003c/em>\u003c/p>\n\u003cp>I’d play it over and over on my guitar, and sing the words, meditating on my condition. Was I veering toward mental illness? Was I just lonesome? Was there a difference? And why John Garfield, of all people?\u003c/p>\n\u003cp>Fast-forward a few years and I’m on the phone with Kris Kristofferson. He \u003ca href=\"https://www.youtube.com/watch?v=WJwToR_Nokw\" rel=\"noopener noreferrer\" target=\"_blank\">covered\u003c/a> “The Late John Garfield Blues” a few times, so I asked him what the song was about. “Oh, I’ll tell you a funny story about that song,” he said.\u003c/p>\n\u003cp>Kristofferson told me that when he was living at Rita Coolidge’s place in Hollywood, he bought Prine’s latest album \u003cem>Diamonds in the Rough\u003c/em> one day and was playing it on the turntable. “And it got to that song, and it kept stopping in that song! I said ‘What the hell’s wrong with this thing?’” Kristofferson said.\u003c/p>\n\u003cp>“And we looked at the title, ‘The Late John Garfield Blues,’ and Rita said, ‘My God. \u003cem>This\u003c/em> was John Garfield’s house!’ There we were in John Garfield’s old house, and the record stopped twice to call our attention to it.”\u003c/p>\n\u003cp>A mysterious happening for an even more mysterious tune. “As to what it’s about?” Kristofferson added. “God, I don’t know. But I love the 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/vXqWdF0L4F4'\n title='//www.youtube.com/embed/vXqWdF0L4F4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3.\u003c/h2>\n\u003cp>I saw John Prine five or six times. I watched him sing “Angel From Montgomery” with Bonnie Raitt, “Paradise” with Todd Snider, “In Spite of Ourselves” with Iris Dement. That last one was special: he’d just beaten throat cancer, and had a hit comeback with \u003cem>In Spite of Ourselves\u003c/em>, an album of duets about cheating and infidelity. \u003c/p>\n\u003cp>At every show I saw, Prine was showered with adoration, and not just from the fans. Once, at a songwriters-in-the-round benefit with Emmylou Harris, Steve Earle, Bruce Cockburn and Nanci Griffith, I witnessed the obvious reverence they all had for Prine when he sang. \u003c/p>\n\u003cp>His songs were covered by classic country singers like Johnny Cash, new country singers like Miranda Lambert, and rock bands like R.E.M. It was proof that his songs crossed generations, genres, and borders. (Imagine what a rap producer could do with the line “You know what blood looks like in a black and white video? / Shadows / \u003cem>Shhhhhhadows!\u003c/em>”)\u003c/p>\n\u003cp>Once, at the Hardly Strictly Bluegrass festival in Golden Gate Park, I climbed a tree to catch a glimpse of Prine’s set. From my perch, I could see the meadow overflowing with people, spilling into the bushes, over the fences, and high up on any hill that would provide a view. It was an incredible sight. \u003c/p>\n\u003cp>He was loved that much.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>4.\u003c/h2>\n\u003cp>At the record store, I ran into some musician friends, Henry and Brian. “Hey,” I suggested, “John Prine’s not gonna live forever. What say we put together a set of his songs so we can play a tribute show for him when he dies?”\u003c/p>\n\u003cp>“Why wait until he dies?” Henry replied.\u003c/p>\n\u003cp>And so last year, we started rehearsing together, once a week, in Henry’s living room. We didn’t have to practice too hard; the songs ran in our blood. “Illegal Smile.” “Fish and Whistle.” “The Great Compromise.” \u003c/p>\n\u003cp>In every corner of Prine’s catalog, we found unexpected riches beyond the well-known hits. “Grandpa Was a Carpenter,” an ode to ancestry and the simple life. “Clocks and Spoons,” a sweet lullaby. “Sabu Visits the Twin Cities Alone,” a quirky story about a child actor and his manager. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’d play and sing, dissect the songs, tell stories about how they related to various phases of our lives, and ask ourselves things like, “Is there anything more heartbreaking than ‘\u003ca href=\"https://www.youtube.com/watch?v=_ujOTP8oPpY\" rel=\"noopener noreferrer\" target=\"_blank\">Far From Me\u003c/a>?’”:\u003c/p>\n\u003cp>\u003cem>Why we used to laugh together, and we’d dance to any old song\u003c/em>\u003cbr>\n\u003cem>Well you know, she still laughs with me, but she waits just a second too long\u003c/em>\u003c/p>\n\u003cp>We worked up over 20 of his songs, and were ready for the big tribute show. And wouldn’t you know it, right when John Prine died, we weren’t allowed to perform them, by law. I can just imagine him looking down at us and laughing, and saying: \u003cem>that’s the way the world goes ’round.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13824006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24.jpg 909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>5.\u003c/h2>\n\u003cp>John Prine called my house one morning a few years back. We talked for 15 minutes, a typical phone interview to promote a concert in town. He’d just put out \u003cem>The Tree of Forgiveness\u003c/em>, his final album.\u003c/p>\n\u003cp>“I think everybody needs a little forgiveness,” Prine told me. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>I didn’t think to ask what he needed to forgive himself for. Instead, we talked about things that excited him: reading newspapers, meeting younger fans, buying old cars on eBay late at night. \u003c/p>\n\u003cp>He was excited, too, that the United States had term limits, and the fact that Trump “can’t be in there for more than eight years,” he said, adding, “I’m hoping he’s out of there in four.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>6.\u003c/h2>\n\u003cp>On Tuesday, I was reading that Trump \u003ca href=\"https://www.washingtonpost.com/national-security/trump-removes-inspector-general-who-was-to-oversee-2-trillion-stimulus-spending/2020/04/07/2f0c6cb8-78ea-11ea-9bee-c5bf9d2e3288_story.html\" rel=\"noopener noreferrer\" target=\"_blank\">fired the inspector general assigned to oversee the $2.2 trillion coronavirus relief bill\u003c/a>, and thinking about words like dictatorship and kleptocracy, as one does these days. And then I saw that Prine had died. \u003c/p>\n\u003cp>I walked around my neighborhood in a daze. I knew it was coming, but the cause and the timing angered me. Prine died from the coronavirus, which Trump \u003ca href=\"https://www.washingtonpost.com/politics/2020/03/12/trump-coronavirus-timeline/\" rel=\"noopener noreferrer\" target=\"_blank\">spectacularly downplayed\u003c/a> for months, delaying preventative, life-saving measures. Now, as news of Prine’s death arrived, the president was ridding the government of those seen as disloyal, and effectively securing a blank checkbook for himself. It was all too much: the ascendancy of corruption and the death of good.\u003c/p>\n\u003cp>For comfort, I started singing “\u003ca href=\"https://www.youtube.com/watch?v=kJ7sc9Cbuiw\" rel=\"noopener noreferrer\" target=\"_blank\">Souvenirs\u003c/a>,” blending it with “\u003ca href=\"https://www.youtube.com/watch?v=OLVWEYUqGew\" rel=\"noopener noreferrer\" target=\"_blank\">Sam Stone\u003c/a>”—with the line “sweet songs never last too long on broken radios.” But I could only think about how our radio is broken, and how John Prine was the sweetest song of all.\u003c/p>\n\u003cp>Then I tried singing “\u003ca href=\"https://www.youtube.com/watch?v=nmgYCI3OWw4\" rel=\"noopener noreferrer\" target=\"_blank\">Please Don’t Bury Me\u003c/a>,” one of Prine’s many songs about dying, with the part about giving his ears to the deaf “if they don’t mind the size.” A funny line, but I couldn’t bring myself to laugh. \u003c/p>\n\u003cp>But then something else happened as I walked around. I noticed the small things, for a change. I poked my head inside a ’73 Volkswagen bug and studied the dashboard. I passed a few cats sitting in driveways, regal and unwilling to be pet. I examined the bark of a magnolia tree, which I’d never considered before. I watched a few people outside the old folks’ home, sitting on the bench talking, like they always do.\u003c/p>\n\u003cp>I breathed a little easier. It was the quilt of little things that make up a life.\u003c/p>\n\u003cp>It all felt like a John Prine song. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "John Prine, Master of Songwriting, Dies After Developing COVID-19 Symptoms",
"headTitle": "John Prine, Master of Songwriting, Dies After Developing COVID-19 Symptoms | KQED",
"content": "\u003cp>John Prine, a wry and perceptive writer whose songs often resembled vivid short stories, died Tuesday in Nashville from complications related to COVID-19. His death was confirmed by his publicist, on behalf of his family. He was 73 years old. \u003c/p>\n\u003cp>Prine was hospitalized last week after falling ill and put on a ventilator Saturday night, according to \u003ca href=\"https://www.facebook.com/JohnPrine/photos/a.10151864916729446/10158311124894446/?type=3&__xts__%5B0%5D=68.ARDLYlQAcqfsEIWYTQWX7fPO2qpLLnIYIUMoAAmI3L6USE1C8wwAuGl8UgMx7cciLLlFQOzaRR7QZ0vDe89ifJjTS-KNX8OuwdvXr6mecUejeVFU_cOLmj1FCA-MYdn2UlcEMeu526Iif1uzvRHQm4UjXWUywkYFTxD6Zxxfe7JaSoQQbXJUpiBbrTyETRhmTiLuygYUQJKrONQJmgxaKba36A5JssEuqOWS0u4yDOIIvWDlmboGAxtGt8hz4QXYX705qPZ9lATNZs9RS2sjGzmJ9j3JPy4clXs_2C2YgdK8U2kFF-1dWchujIhtdlBlL5r4mQ5GQo-Iwao8-g&__tn__=-R\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>Even as a young man, Prine — who famously worked as a mailman before turning to music full-time — wrote evocative songs that belied his age. With a conversational vocal approach, he quickly developed a reputation as a performer who empathized with his characters. His beloved 1971 self-titled debut features the aching “Hello In There,” written from the perspective of a lonely elderly man who simply wants to be noticed, and the equally bittersweet “Angel From Montgomery.” The latter song is narrated by a middle-aged woman with deep regrets over the way her life turned out, married to a man who’s merely “another child that’s grown old.”\u003c/p>\n\u003cp>Bestowing dignity on the overlooked and marginalized was a common theme throughout Prine’s career; he became known for detailed vignettes about ordinary people that illustrated larger truths about society. One of his signature songs, “Sam Stone,” is an empathetic tale of a decorated veteran who overdoses because he has trouble readjusting to real life after the war. (Prine has said he based the protagonist around friends who were Vietnam War veterans, and also soldiers he encountered during his own two-year stint as an Army mechanic.)\u003c/p>\n\u003cp>Like “Sam Stone,” many of Prine’s songs also had an uncanny ability to address (if not predict) the societal and political zeitgeist. The understated 1984 song “Unwed Fathers” illustrates pernicious double standards pertaining to gender: The titular group “can’t be bothered / They run like water, through a mountain stream,” while the young women they impregnate are shamed and face consequences. Recorded for \u003cem>John Prine\u003c/em>, “Your Flag Decal Won’t Get You Into Heaven Anymore” criticizes people who use piety and patriotism as a cover for supporting an unjust war — a theme he’d revisit on 2005’s “Some Humans Ain’t Human,” which pulls no punches slamming both hypocritical people and the Iraq War started by George W. Bush.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5HCBeYj2VCeiyQNpSezVvQ\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>But like fellow songwriting iconoclast Shel Silverstein, Prine also cloaked his pointed commentary within whimsical wordplay. “Some Humans Ain’t Human” claims that inside the heart of these turncoats is “a few frozen pizzas, some ice cubes with hair and a broken Popsicle,” while “Dear Abby” has a lilting, rollicking rhythm to its verses, as it gently chides advice-column complainers to count their blessings. “Bruised Orange (Chain of Sorrow)” uses both absurdity (an altar boy struck by a train) and the mundane (a bench makeout) to encourage people to stay positive and have gratitude.\u003c/p>\n\u003cp>And “Christmas In Prison” boasts one of his best lyrics — “She reminds me of a chess game with someone I admire” — while embodying his quiet irreverence. “It’s about a person being somewhere like a prison, in a situation they don’t want to be in, and wishing they were somewhere else,” he wrote in the liner notes to 1993’s \u003cem>Great Days: The John Prine Anthology\u003c/em>, adding that “I used all the imagery as if it were an actual prison. … And being a sentimental guy, I put it at Christmas.”\u003c/p>\n\u003cp>Prine was born on October 10, 1946, to parents with strong family ties to Paradise, Kentucky, a place that later served as the backdrop to “Paradise,” his cautionary tale about a coal country town destroyed and discarded by corporate interests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Raised in Maywood, a suburb of Chicago,, the young Prine devoured 45s from Buddy Holly, Johnny Cash and Little Richard, and soaked up the country music his father loved, such as Hank Williams Sr., Ernest Tubb and Roy Acuff. More crucially, Prine learned rudimentary guitar skills from his oldest brother, Dave, a folk fan who memorably gifted him a Carter Family LP. “I learned all those songs,” he\u003ca href=\"https://www.npr.org/2019/06/21/734391998/john-prine-on-music-cancer-and-why-he-never-expected-to-be-a-recording-artist\"> told NPR’s Terry Gross\u003c/a> in 2018. “And not too long after that, I started writing when I was 14. And my melodies always came out like old-timey country stuff.” Around this time, Prine also started to learn finger-picking by playing songs by Elizabeth Cotten and Mississippi John Hurt, he added: “I’d sit in the closet in the dark in case I ever went blind, to see if I could play.”\u003c/p>\n\u003cp>Although Prine also started taking guitar lessons at Chicago’s Old Town School of Folk Music starting in fall 1963, he still wasn’t considering pursuing music as a full-time career. In fact, he was working as a mailman and playing gigs at night on the side when a generous live review from critic Roger Ebert in late 1970 boosted his reputation in Chicago’s nascent folk scene. A record deal with Atlantic Records came in early 1971, after then-executive Jerry Wexler saw Prine perform three songs during a Kris Kristofferson set at the Bottom Line in New York City.\u003c/p>\n\u003cfigure id=\"attachment_13878302\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/prine.jpg\" alt=\"John Prine, hanging out at Georgia State College in 1975.\" width=\"600\" height=\"896\" class=\"size-full wp-image-13878302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine-160x239.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">John Prine, hanging out at Georgia State College in 1975.\u003cbr> \u003ccite>(Tom Hill/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine received a Grammy nomination for Best New Artist in 1972, on the strength of his debut, and started turning out records at a brisk pace for the rest of the 1970s. Almost immediately, his songs were covered by other artists: Bonnie Raitt did a version of “Angel From Montgomery” (as did John Denver and Tanya Tucker), while Bette Midler, Everly Brothers, Swamp Dogg and, later, the Highwaymen also recorded Prine-penned songs.\u003c/p>\n\u003cp>Being in the spotlight didn’t come naturally. “I had a difficult time listening back to them because I was so nervous,” he told NPR’s Gross about his early records. “I didn’t expect to do this for a living, be a recording artist. I was just playing music for the fun of it and writing songs to … that was kind of my escape, you know, from the humdrum of the world.”\u003c/p>\n\u003cp>But Prine’s early success allowed him to start approaching his career on his own terms. With manager Al Bunetta, he formed the independent label Oh Boy Records in 1981, launching it with a Christmas single, “I Saw Mommy Kissing Santa Claus.” Prine slowed down his output in the ’80s and ’90s but expanded his sonic purview, co-writing “Jackie O” with John Cougar Mellencamp for the latter’s hit 1983 LP \u003cem>Uh-Huh\u003c/em> and collaborating with members of Tom Petty & The Heartbreakers for his 1991 album \u003cem>The Missing Years\u003c/em>, which won a Grammy for Best Contemporary Folk Album. (Prine also won in the same category for 2005’s \u003cem>Fair & Square\u003c/em>.)\u003c/p>\n\u003cp>Starting in the mid-’90s, Prine also dealt with several serious health issues. He had a cancerous tumor in his neck removed in 1996, successfully beat lung cancer in 2013, and had a heart stent implanted in 2019. In 2018, he admitted to NPR’s Terry Gross that his 1996 cancer surgery changed his voice. “It dropped down lower, and it feels friendlier to me,” he said. “So I can actually sit in the studio and listen to my singing play back. Before, I’d run the other way.” He debuted his new voice — which did feel a bit rougher of comfort, like a rock swathed in moss — with 1999’s \u003cem>In Spite of Ourselves\u003c/em>, which featured duets on covers with female artists such as Iris DeMent, Patty Loveless and Lucinda Williams. He released a kindred-spirit sequel in 2016, \u003cem>For Better, or Worse\u003c/em>, that also featured DeMent, in addition to duets with contemporary artists Miranda Lambert, Kacey Musgraves and Morgane Stapleton.\u003c/p>\n\u003cfigure id=\"attachment_13878298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg\" alt=\"John Prine at the Edison Hotel in Times Square, 1999.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13878298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Prine at the Edison Hotel in Times Square, 1999. \u003ccite>(New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine’s career received another boost more recently, too, after his work was championed by modern Americana acts such as Jason Isbell and Amanda Shires — two artists with whom Prine collaborated — Sturgill Simpson and Margo Price. In 2019, he was inducted into the Songwriters Hall of Fame, the year after releasing \u003cem>The Tree of Forgiveness\u003c/em>, his first album of all-new original songs since \u003cem>Fair & Square\u003c/em>. The album featured co-writes with Dan Auerbach and long-time foils Pat McLaughlin and Keith Sykes, and debuted at No. 5 on \u003cem>Billboard\u003c/em>‘s Top 200.\u003c/p>\n\u003cp>\u003cem>The Tree of Forgiveness\u003c/em> ends with a song called “When I Get to Heaven,” a detailed look at what Prine said he intended to do after he dies: start a band, see dearly departed family members, order a cocktail, shake God’s hand, and encourage rampant forgiveness. (In a nod to his usual wryness, he also said he’d enjoy a cigarette that’s “nine miles long,” no doubt because he gave up smoking after his cancer bouts.) The lyrics are sentimental and freewheeling, making it clear that Prine planned to keep the good times going up in heaven. It’s likely that the song was intended to be a winking bit of foreshadowing about his own mortality, although now, perhaps it’s better interpreted as Prine providing a blueprint for how to live life with gusto while you’re still here. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Prine%2C+Hero+Of+%27New%27+Nashville%2C+Dies+After+Developing+COVID-19+Symptoms&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Prine, a wry and perceptive writer whose songs often resembled vivid short stories, died Tuesday in Nashville from complications related to COVID-19. His death was confirmed by his publicist, on behalf of his family. He was 73 years old. \u003c/p>\n\u003cp>Prine was hospitalized last week after falling ill and put on a ventilator Saturday night, according to \u003ca href=\"https://www.facebook.com/JohnPrine/photos/a.10151864916729446/10158311124894446/?type=3&__xts__%5B0%5D=68.ARDLYlQAcqfsEIWYTQWX7fPO2qpLLnIYIUMoAAmI3L6USE1C8wwAuGl8UgMx7cciLLlFQOzaRR7QZ0vDe89ifJjTS-KNX8OuwdvXr6mecUejeVFU_cOLmj1FCA-MYdn2UlcEMeu526Iif1uzvRHQm4UjXWUywkYFTxD6Zxxfe7JaSoQQbXJUpiBbrTyETRhmTiLuygYUQJKrONQJmgxaKba36A5JssEuqOWS0u4yDOIIvWDlmboGAxtGt8hz4QXYX705qPZ9lATNZs9RS2sjGzmJ9j3JPy4clXs_2C2YgdK8U2kFF-1dWchujIhtdlBlL5r4mQ5GQo-Iwao8-g&__tn__=-R\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>Even as a young man, Prine — who famously worked as a mailman before turning to music full-time — wrote evocative songs that belied his age. With a conversational vocal approach, he quickly developed a reputation as a performer who empathized with his characters. His beloved 1971 self-titled debut features the aching “Hello In There,” written from the perspective of a lonely elderly man who simply wants to be noticed, and the equally bittersweet “Angel From Montgomery.” The latter song is narrated by a middle-aged woman with deep regrets over the way her life turned out, married to a man who’s merely “another child that’s grown old.”\u003c/p>\n\u003cp>Bestowing dignity on the overlooked and marginalized was a common theme throughout Prine’s career; he became known for detailed vignettes about ordinary people that illustrated larger truths about society. One of his signature songs, “Sam Stone,” is an empathetic tale of a decorated veteran who overdoses because he has trouble readjusting to real life after the war. (Prine has said he based the protagonist around friends who were Vietnam War veterans, and also soldiers he encountered during his own two-year stint as an Army mechanic.)\u003c/p>\n\u003cp>Like “Sam Stone,” many of Prine’s songs also had an uncanny ability to address (if not predict) the societal and political zeitgeist. The understated 1984 song “Unwed Fathers” illustrates pernicious double standards pertaining to gender: The titular group “can’t be bothered / They run like water, through a mountain stream,” while the young women they impregnate are shamed and face consequences. Recorded for \u003cem>John Prine\u003c/em>, “Your Flag Decal Won’t Get You Into Heaven Anymore” criticizes people who use piety and patriotism as a cover for supporting an unjust war — a theme he’d revisit on 2005’s “Some Humans Ain’t Human,” which pulls no punches slamming both hypocritical people and the Iraq War started by George W. Bush.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5HCBeYj2VCeiyQNpSezVvQ\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>But like fellow songwriting iconoclast Shel Silverstein, Prine also cloaked his pointed commentary within whimsical wordplay. “Some Humans Ain’t Human” claims that inside the heart of these turncoats is “a few frozen pizzas, some ice cubes with hair and a broken Popsicle,” while “Dear Abby” has a lilting, rollicking rhythm to its verses, as it gently chides advice-column complainers to count their blessings. “Bruised Orange (Chain of Sorrow)” uses both absurdity (an altar boy struck by a train) and the mundane (a bench makeout) to encourage people to stay positive and have gratitude.\u003c/p>\n\u003cp>And “Christmas In Prison” boasts one of his best lyrics — “She reminds me of a chess game with someone I admire” — while embodying his quiet irreverence. “It’s about a person being somewhere like a prison, in a situation they don’t want to be in, and wishing they were somewhere else,” he wrote in the liner notes to 1993’s \u003cem>Great Days: The John Prine Anthology\u003c/em>, adding that “I used all the imagery as if it were an actual prison. … And being a sentimental guy, I put it at Christmas.”\u003c/p>\n\u003cp>Prine was born on October 10, 1946, to parents with strong family ties to Paradise, Kentucky, a place that later served as the backdrop to “Paradise,” his cautionary tale about a coal country town destroyed and discarded by corporate interests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Raised in Maywood, a suburb of Chicago,, the young Prine devoured 45s from Buddy Holly, Johnny Cash and Little Richard, and soaked up the country music his father loved, such as Hank Williams Sr., Ernest Tubb and Roy Acuff. More crucially, Prine learned rudimentary guitar skills from his oldest brother, Dave, a folk fan who memorably gifted him a Carter Family LP. “I learned all those songs,” he\u003ca href=\"https://www.npr.org/2019/06/21/734391998/john-prine-on-music-cancer-and-why-he-never-expected-to-be-a-recording-artist\"> told NPR’s Terry Gross\u003c/a> in 2018. “And not too long after that, I started writing when I was 14. And my melodies always came out like old-timey country stuff.” Around this time, Prine also started to learn finger-picking by playing songs by Elizabeth Cotten and Mississippi John Hurt, he added: “I’d sit in the closet in the dark in case I ever went blind, to see if I could play.”\u003c/p>\n\u003cp>Although Prine also started taking guitar lessons at Chicago’s Old Town School of Folk Music starting in fall 1963, he still wasn’t considering pursuing music as a full-time career. In fact, he was working as a mailman and playing gigs at night on the side when a generous live review from critic Roger Ebert in late 1970 boosted his reputation in Chicago’s nascent folk scene. A record deal with Atlantic Records came in early 1971, after then-executive Jerry Wexler saw Prine perform three songs during a Kris Kristofferson set at the Bottom Line in New York City.\u003c/p>\n\u003cfigure id=\"attachment_13878302\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/prine.jpg\" alt=\"John Prine, hanging out at Georgia State College in 1975.\" width=\"600\" height=\"896\" class=\"size-full wp-image-13878302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine-160x239.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">John Prine, hanging out at Georgia State College in 1975.\u003cbr> \u003ccite>(Tom Hill/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine received a Grammy nomination for Best New Artist in 1972, on the strength of his debut, and started turning out records at a brisk pace for the rest of the 1970s. Almost immediately, his songs were covered by other artists: Bonnie Raitt did a version of “Angel From Montgomery” (as did John Denver and Tanya Tucker), while Bette Midler, Everly Brothers, Swamp Dogg and, later, the Highwaymen also recorded Prine-penned songs.\u003c/p>\n\u003cp>Being in the spotlight didn’t come naturally. “I had a difficult time listening back to them because I was so nervous,” he told NPR’s Gross about his early records. “I didn’t expect to do this for a living, be a recording artist. I was just playing music for the fun of it and writing songs to … that was kind of my escape, you know, from the humdrum of the world.”\u003c/p>\n\u003cp>But Prine’s early success allowed him to start approaching his career on his own terms. With manager Al Bunetta, he formed the independent label Oh Boy Records in 1981, launching it with a Christmas single, “I Saw Mommy Kissing Santa Claus.” Prine slowed down his output in the ’80s and ’90s but expanded his sonic purview, co-writing “Jackie O” with John Cougar Mellencamp for the latter’s hit 1983 LP \u003cem>Uh-Huh\u003c/em> and collaborating with members of Tom Petty & The Heartbreakers for his 1991 album \u003cem>The Missing Years\u003c/em>, which won a Grammy for Best Contemporary Folk Album. (Prine also won in the same category for 2005’s \u003cem>Fair & Square\u003c/em>.)\u003c/p>\n\u003cp>Starting in the mid-’90s, Prine also dealt with several serious health issues. He had a cancerous tumor in his neck removed in 1996, successfully beat lung cancer in 2013, and had a heart stent implanted in 2019. In 2018, he admitted to NPR’s Terry Gross that his 1996 cancer surgery changed his voice. “It dropped down lower, and it feels friendlier to me,” he said. “So I can actually sit in the studio and listen to my singing play back. Before, I’d run the other way.” He debuted his new voice — which did feel a bit rougher of comfort, like a rock swathed in moss — with 1999’s \u003cem>In Spite of Ourselves\u003c/em>, which featured duets on covers with female artists such as Iris DeMent, Patty Loveless and Lucinda Williams. He released a kindred-spirit sequel in 2016, \u003cem>For Better, or Worse\u003c/em>, that also featured DeMent, in addition to duets with contemporary artists Miranda Lambert, Kacey Musgraves and Morgane Stapleton.\u003c/p>\n\u003cfigure id=\"attachment_13878298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg\" alt=\"John Prine at the Edison Hotel in Times Square, 1999.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13878298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Prine at the Edison Hotel in Times Square, 1999. \u003ccite>(New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine’s career received another boost more recently, too, after his work was championed by modern Americana acts such as Jason Isbell and Amanda Shires — two artists with whom Prine collaborated — Sturgill Simpson and Margo Price. In 2019, he was inducted into the Songwriters Hall of Fame, the year after releasing \u003cem>The Tree of Forgiveness\u003c/em>, his first album of all-new original songs since \u003cem>Fair & Square\u003c/em>. The album featured co-writes with Dan Auerbach and long-time foils Pat McLaughlin and Keith Sykes, and debuted at No. 5 on \u003cem>Billboard\u003c/em>‘s Top 200.\u003c/p>\n\u003cp>\u003cem>The Tree of Forgiveness\u003c/em> ends with a song called “When I Get to Heaven,” a detailed look at what Prine said he intended to do after he dies: start a band, see dearly departed family members, order a cocktail, shake God’s hand, and encourage rampant forgiveness. (In a nod to his usual wryness, he also said he’d enjoy a cigarette that’s “nine miles long,” no doubt because he gave up smoking after his cancer bouts.) The lyrics are sentimental and freewheeling, making it clear that Prine planned to keep the good times going up in heaven. It’s likely that the song was intended to be a winking bit of foreshadowing about his own mortality, although now, perhaps it’s better interpreted as Prine providing a blueprint for how to live life with gusto while you’re still here. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Prine%2C+Hero+Of+%27New%27+Nashville%2C+Dies+After+Developing+COVID-19+Symptoms&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Independent Venue Alliance Offers Hope for Local Music Ecosystem",
"headTitle": "Independent Venue Alliance Offers Hope for Local Music Ecosystem | KQED",
"content": "\u003cp>Before the coronavirus pandemic, surviving in San Francisco was already tough for venues like \u003ca href=\"http://www.bottomofthehill.com/calendar.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>On most nights since 1991, the scrappy Potrero Hill club filled up with fans eager to see up-and-coming bands, with tickets typically under $15 a head. The venue bet on smaller acts rather than well-known artists on tour, with local bands making up an estimated 70% of their recent bookings.\u003c/p>\n\u003cp>In the weeks since shelter-in-place orders came down, co-owner and head booker Lynn Schwarz has found herself steadily refunding $20,000 of canceled show tickets while fielding phone calls from agents postponing bigger concerts. The safety measures necessary to stop the spread of the coronavirus have only exacerbated the challenges businesses like hers face simply by operating in a city as expensive as San Francisco. So Schwarz was relieved when \u003ca href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make Out Room\u003c/a> booker Parker Gibbs and Fred Barnes, general manager of \u003ca href=\"https://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a>, invited Bottom of the Hill to join the Independent Venue Alliance, a new organization they formed to advocate for San Francisco bars and clubs reeling from coronavirus closures.\u003c/p>\n\u003cp>“For the first time ever, I don’t think we should do this on our own,” says Schwarz. “This alliance, of all the hands being extended right now, is the one thing that sounds like it may actually work.”\u003c/p>\n\u003cfigure id=\"attachment_13852013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0696-800x503.jpg\" alt=\"King Woman’s Kristina Esfandiari returns to the Bay to perform a rose tinted set with her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-768x483.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Woman’s Kristina Esfandiari performs her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Independent venues] serve such an important role in culture and in society, but there’s not really any safety net for them at all in a situation like this—or before this,” says Barnes, pointing to the numerous San Francisco venues that shuttered before the pandemic. In 2018, longstanding rock bar \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">The Hemlock\u003c/a> closed to make way for condos, and dance club \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">The Mezzanine\u003c/a> followed suit on New Year’s Day 2020, with building owners planning to convert it into offices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the economic turmoil of the pandemic, independent venues have fallen through the cracks of most local relief efforts. \u003ca href=\"https://www.cciarts.org/EmergencyRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Arts & Artists Relief Fund\u003c/a> is geared towards individual artists and nonprofit organizations. And the city’s \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">Small Business Resiliency Fund\u003c/a> offers grants for small businesses with five or fewer employees—a criteria most venues don’t meet. \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">City and federal loans\u003c/a> are available, but repaying them when it’s safe to reopen will be an added challenge for venues already struggling to cover operating costs through ticket and bar sales.\u003c/p>\n\u003cp>“All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” says Schwarz, adding that Bottom of the Hill launched a \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10220\" target=\"_blank\" rel=\"noopener noreferrer\">relief fund\u003c/a> for its employees. “Right now my partners are digging into their retirement to keep us open, and the act of opening our doors is going to take another influx of money when we eventually do.”\u003c/p>\n\u003cp>Fellow alliance member and Mission district bar \u003ca href=\"https://www.elriosf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Rio\u003c/a>, established in 1978, faces similar challenges. It recently laid off its entire staff of 20 in what’s typically the bar’s busiest season. (The venue raised around $15,000 for its former employees via \u003ca href=\"https://www.gofundme.com/f/support-for-el-rio-staff\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.) “We have monthly weekend get-togethers on the patio, and those vary in terms of population but it’s very, very Mission, very, very local. We try to center queer, POC, working class folks,” says general manager Lynne Angel. “And right when we were getting started, everything kind of shut down.”\u003c/p>\n\u003cp>Independent venues face much greater hurdles than those backed by AEG or Live Nation, the world’s two largest events presenters, which control bookings at several prominent venues in the Bay Area, including the Fillmore, Regency Ballroom and The Warfield. Barnes hopes to use the Independent Venue Alliance to create a collective fundraiser that can be doled out among participating bars and clubs so they can continue to pay their staff. The goal is to give individuals and corporate donors alike one official, centralized location to support the local music ecosystem.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We employ a lot of people who are San Francisco natives, Mission District natives and are in the service industry,” Barnes says, adding that the Chapel is \u003ca href=\"https://www.gofundme.com/f/the-chapel-staff-relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> for its 80 workers, most of whom are paid hourly. “They live often paycheck to paycheck in terms of their rent. … It’s already difficult for them.”\u003c/p>\n\u003cp>Another of the alliance’s ambitions is to give owners and managers a collective voice when advocating for independent venues’ unique concerns in City Hall. The alliance also wants to promote consumer awareness: San Francisco has a conscious consumer culture, but oftentimes the average patron doesn’t know whether they’re supporting a corporate-backed venue or an independent, Barnes reasons.\u003c/p>\n\u003cp>In addition to The Chapel, El Rio, Make Out Room and Bottom of the Hill, the Independent Venue Alliance has enlisted Neck of the Woods, The Knockout, Rickshaw Stop and Amado’s, and a telethon fundraiser is in the works. Each venue serves a different music scene and clientele that Barnes hopes will band together to ensure the local ecosystem can endure for years to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Musical] movements have always been attached to specific venues that have become famous, and they’re always independent venues,” he says. “That’s a really important point because that’s where culture grows.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the coronavirus pandemic, surviving in San Francisco was already tough for venues like \u003ca href=\"http://www.bottomofthehill.com/calendar.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>On most nights since 1991, the scrappy Potrero Hill club filled up with fans eager to see up-and-coming bands, with tickets typically under $15 a head. The venue bet on smaller acts rather than well-known artists on tour, with local bands making up an estimated 70% of their recent bookings.\u003c/p>\n\u003cp>In the weeks since shelter-in-place orders came down, co-owner and head booker Lynn Schwarz has found herself steadily refunding $20,000 of canceled show tickets while fielding phone calls from agents postponing bigger concerts. The safety measures necessary to stop the spread of the coronavirus have only exacerbated the challenges businesses like hers face simply by operating in a city as expensive as San Francisco. So Schwarz was relieved when \u003ca href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make Out Room\u003c/a> booker Parker Gibbs and Fred Barnes, general manager of \u003ca href=\"https://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a>, invited Bottom of the Hill to join the Independent Venue Alliance, a new organization they formed to advocate for San Francisco bars and clubs reeling from coronavirus closures.\u003c/p>\n\u003cp>“For the first time ever, I don’t think we should do this on our own,” says Schwarz. “This alliance, of all the hands being extended right now, is the one thing that sounds like it may actually work.”\u003c/p>\n\u003cfigure id=\"attachment_13852013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0696-800x503.jpg\" alt=\"King Woman’s Kristina Esfandiari returns to the Bay to perform a rose tinted set with her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-768x483.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Woman’s Kristina Esfandiari performs her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Independent venues] serve such an important role in culture and in society, but there’s not really any safety net for them at all in a situation like this—or before this,” says Barnes, pointing to the numerous San Francisco venues that shuttered before the pandemic. In 2018, longstanding rock bar \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">The Hemlock\u003c/a> closed to make way for condos, and dance club \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">The Mezzanine\u003c/a> followed suit on New Year’s Day 2020, with building owners planning to convert it into offices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the economic turmoil of the pandemic, independent venues have fallen through the cracks of most local relief efforts. \u003ca href=\"https://www.cciarts.org/EmergencyRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Arts & Artists Relief Fund\u003c/a> is geared towards individual artists and nonprofit organizations. And the city’s \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">Small Business Resiliency Fund\u003c/a> offers grants for small businesses with five or fewer employees—a criteria most venues don’t meet. \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">City and federal loans\u003c/a> are available, but repaying them when it’s safe to reopen will be an added challenge for venues already struggling to cover operating costs through ticket and bar sales.\u003c/p>\n\u003cp>“All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” says Schwarz, adding that Bottom of the Hill launched a \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10220\" target=\"_blank\" rel=\"noopener noreferrer\">relief fund\u003c/a> for its employees. “Right now my partners are digging into their retirement to keep us open, and the act of opening our doors is going to take another influx of money when we eventually do.”\u003c/p>\n\u003cp>Fellow alliance member and Mission district bar \u003ca href=\"https://www.elriosf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Rio\u003c/a>, established in 1978, faces similar challenges. It recently laid off its entire staff of 20 in what’s typically the bar’s busiest season. (The venue raised around $15,000 for its former employees via \u003ca href=\"https://www.gofundme.com/f/support-for-el-rio-staff\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.) “We have monthly weekend get-togethers on the patio, and those vary in terms of population but it’s very, very Mission, very, very local. We try to center queer, POC, working class folks,” says general manager Lynne Angel. “And right when we were getting started, everything kind of shut down.”\u003c/p>\n\u003cp>Independent venues face much greater hurdles than those backed by AEG or Live Nation, the world’s two largest events presenters, which control bookings at several prominent venues in the Bay Area, including the Fillmore, Regency Ballroom and The Warfield. Barnes hopes to use the Independent Venue Alliance to create a collective fundraiser that can be doled out among participating bars and clubs so they can continue to pay their staff. The goal is to give individuals and corporate donors alike one official, centralized location to support the local music ecosystem.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We employ a lot of people who are San Francisco natives, Mission District natives and are in the service industry,” Barnes says, adding that the Chapel is \u003ca href=\"https://www.gofundme.com/f/the-chapel-staff-relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> for its 80 workers, most of whom are paid hourly. “They live often paycheck to paycheck in terms of their rent. … It’s already difficult for them.”\u003c/p>\n\u003cp>Another of the alliance’s ambitions is to give owners and managers a collective voice when advocating for independent venues’ unique concerns in City Hall. The alliance also wants to promote consumer awareness: San Francisco has a conscious consumer culture, but oftentimes the average patron doesn’t know whether they’re supporting a corporate-backed venue or an independent, Barnes reasons.\u003c/p>\n\u003cp>In addition to The Chapel, El Rio, Make Out Room and Bottom of the Hill, the Independent Venue Alliance has enlisted Neck of the Woods, The Knockout, Rickshaw Stop and Amado’s, and a telethon fundraiser is in the works. Each venue serves a different music scene and clientele that Barnes hopes will band together to ensure the local ecosystem can endure for years to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Musical] movements have always been attached to specific venues that have become famous, and they’re always independent venues,” he says. “That’s a really important point because that’s where culture grows.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you haven’t yet \u003ca href=\"https://www.kqed.org/arts/13877597/have-you-accepted-zoom-as-your-lord-and-savior\" rel=\"noopener noreferrer\" target=\"_blank\">accepted Zoom as your Lord and savior\u003c/a>, you’ve probably seen the video-conferencing app used in \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DavidMarks.ThisisFine.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">creative ways\u003c/a> during the coronavirus-induced shutdown. \u003c/p>\n\u003cp>And then there’s Thao Nguyen, the Bay Area musician who’s made the first music video shot entirely on Zoom. (That \u003ca href=\"https://www.kqed.org/arts/13878141/watch-the-hamilton-cast-reunite-for-one-lucky-9-year-old\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Hamilton\u003c/em> thing\u003c/a> was pre-recorded and spliced together, folks.) In her latest video with \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thao & the Get Down Stay Down\u003c/a>, Nguyen takes the platform into an entirely new world of possibility. \u003c/p>\n\u003cp>“Due to the California stay-at-home order we very much agree with, this music video was made entirely on Zoom,” Nguyen wrote upon its release. “It was conceived of and made within one week from March 23-30, 2020.”\u003c/p>\n\u003cp>Watch above as Nguyen performs “Phenom” with unison choreography, synchronized effects, and… ah, I’ll just let you watch it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you haven’t yet \u003ca href=\"https://www.kqed.org/arts/13877597/have-you-accepted-zoom-as-your-lord-and-savior\" rel=\"noopener noreferrer\" target=\"_blank\">accepted Zoom as your Lord and savior\u003c/a>, you’ve probably seen the video-conferencing app used in \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DavidMarks.ThisisFine.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">creative ways\u003c/a> during the coronavirus-induced shutdown. \u003c/p>\n\u003cp>And then there’s Thao Nguyen, the Bay Area musician who’s made the first music video shot entirely on Zoom. (That \u003ca href=\"https://www.kqed.org/arts/13878141/watch-the-hamilton-cast-reunite-for-one-lucky-9-year-old\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Hamilton\u003c/em> thing\u003c/a> was pre-recorded and spliced together, folks.) In her latest video with \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thao & the Get Down Stay Down\u003c/a>, Nguyen takes the platform into an entirely new world of possibility. \u003c/p>\n\u003cp>“Due to the California stay-at-home order we very much agree with, this music video was made entirely on Zoom,” Nguyen wrote upon its release. “It was conceived of and made within one week from March 23-30, 2020.”\u003c/p>\n\u003cp>Watch above as Nguyen performs “Phenom” with unison choreography, synchronized effects, and… ah, I’ll just let you watch it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Coronavirus Derailed a Fulbright Fellow’s Musicological Research in Brazil",
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"content": "\u003cp>Robert Lopez was only seven weeks into a nine-month Fulbright trip to Brazil, studying music of the syncretic religion Candomblé, when program officials told him to return to the United States.\u003c/p>\n\u003cp>The \u003ca href=\"https://robertlopezmusic.tumblr.com/bio\">Oakland percussionist\u003c/a> and \u003ca href=\"https://www.eastbayexpress.com/oakland/activemusic-series-provides-relaxed-atmosphere-for-strange-sounds/Content?oid=8276603\">improvised music scene fixture\u003c/a> was devastated. Lopez spent years pursuing the prestigious research grant, and he and his partner forfeited their jobs and rent-controlled apartment to move to Salvador, a center of the Afro-Brazilian spiritual practice. “I expected two or three months to plan re-entry,” Lopez said. “Instead it was a matter of days.”\u003c/p>\n\u003cp>Fulbright told Lopez and other grantees to leave Brazil on March 20 as the novel coronavirus escalated into a global pandemic, revoking his healthcare and withholding 41 percent of the $15,350 grant for living and travel expenses. Instead of enhancing safety, Lopez felt Fulbright actually heightened his exposure risk. “Flying back to the U.S., no one was screened,” he said.\u003c/p>\n\u003cp>It’s little consolation that Fulbright now considers Lopez a program alum. “That doesn’t mean anything to me right now,” he said. From temporary housing in the Southern California desert, where Lopez and his partner, experimental musician Shanna Sordahl, have self-quarantined, he’s joining with other Fulbrighters to write congresspeople, asking at least for the full stipend.\u003c/p>\n\u003cp>“But what I want more than anything is to go back to Brazil and finish this project,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg\" alt=\"Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13878169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez, 37, encountered the ensemble drumming of Candomblé, a religious expression borne of the Atlantic slave trade and Portuguese colonialism, as a Cal State Long Beach undergraduate on trips to Brazil with the World Percussion Project. He moved to the Bay Area in 2011 to pursue a graduate degree in the Mills College music department, and five years ago began studying independently with a master Candomblé percussionist and dancer in Oakland, \u003ca href=\"http://www.jorgealabe.com/about.html\">Jorge Alabê\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a Candomblé ceremony, musicians lead dancers in tributes to unique deities, known as orixás. The ensemble generally includes a bell player, two support drummers and a lead drummer playing atabaques, hand drums akin to congas. Lopez was moved by the atabaque’s dynamic range and the music’s fluid feel, especially the improvisational lead drum. Studying with Alabê, he grew skilled enough to support Candomblé dancers for educational and ceremonial purposes.\u003c/p>\n\u003cp>Lopez was fortunate to meet Alabê. Unlike idioms such as samba, master percussionists in the Candomblé tradition are rare outside of Brazil. At the same time, he noticed the music receiving little scholarly attention. He felt the pull of Salvador, a port city in the Bahia state considered sacred in the Candomblé faith, to gain cultural context. “Otherwise it’s like studying jazz coordination patterns on drums without hearing musicians interact in the moment,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RobertLopez.Inline-800x1064.jpg\" alt=\"Robert Lopez and Shanna Sordahl parading during Carnaval.\" width=\"600\" height=\"798\" class=\"size-medium wp-image-13878237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-768x1021.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Robert Lopez and Shanna Sordahl parading during Carnaval. \u003ccite>(Courtesy Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez first’s Fulbright application in 2017 was declined. He re-submitted in October of 2018, and was accepted last April. He learned conversational Portuguese, secured a university affiliation and made key inroads with practitioners in Salvador to prepare for the intensive ethnomusicological study. “I am on the cusp of having the knowledge and ability to take a leadership role in the transmission of Candomblé in the US,” he wrote in the project proposal.\u003c/p>\n\u003cp>For a short while, Lopez was on track to achieve his goals. He and Sordahl sublet the apartment of Rosangela Silvestre, a dancer he’d accompanied as a drummer in California. He received group and individual instruction most days at the Diáspora Art Center in Salvador and private studios from teachers including Nem Britto, Bira Santos, Iuri Passos, Ueslei “Totó” Cruz and Mario Pam. Lopez also developed a daily transcription practice, notating music traditionally taught by example.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Robert Lopez']‘When you leave your place in the Bay Area, it’s hard to come back, especially as an artist.’[/pullquote]In mid-March, Fulbright notified Lopez and some 30 other fellows in Brazil that they could continue receiving medical coverage and their stipend if they signed a waiver releasing the \u003ca href=\"https://eca.state.gov/fulbright\" rel=\"noopener noreferrer\" target=\"_blank\">Department of State-funded program\u003c/a> from liability. Lopez signed it. Days later, though, Fulbright walked back the option. “The order on the 20th said you have days before your health coverage runs out, and you’re not getting funded,” Lopez said. “Fulbright was totally unprepared.”\u003c/p>\n\u003cp>Fulbright has called participants’ health and safety its highest priority in the unprecedented program cancellation, which affects hundreds of fellows worldwide. But many fellows believe they were needlessly exposed, especially now that the United States vastly outpaces other countries in the number of confirmed cases. “By far the greatest worry we had about returning to the United States…was contracting COVID-19 while traveling,” Maia Evrona, a writer and Fulbright fellow studying in Greece and Spain, wrote in an \u003ca href=\"https://lareviewofbooks.org/short-takes/fulbright-covid-19/\">account\u003c/a> for the \u003cem>Los Angeles Review of Books\u003c/em>.\u003c/p>\n\u003cp>Grantees such as Lopez, meanwhile, are now left to recover work and housing in a spiraling economy. “When you leave your place in the Bay Area, it’s hard to come back, especially as an artist,” said Lopez, who’s staying with Sordahl near Joshua Tree. “The next payment is barely a month’s rent.” Lopez previously taught at the Community Music Center and San Francisco Waldorf High School; the music center will rehire him, but the hours aren’t guaranteed, and classes have migrated online. As a musician, his prospects for paid gigs are next to none.\u003c/p>\n\u003cfigure id=\"attachment_13878170\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg\" alt=\"Oxum Square at the Candomblé temple Casa Branca, where Lopez's teacher Jorge Alabê was initiated.\" width=\"1920\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-1020x724.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oxum Square at the Candomblé temple Casa Branca, where Lopez’s teacher Jorge Alabê was initiated. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Fulbright is paying stipends through June, fellows whose trips correspond with the school year are receiving most of the grant. Lopez, however, is among the fellows who started later, putting him out $6,346. At the end of April, he’s anticipating a final payment of $2,254. Receiving the alum title also stings—it implies there’s no option for him to renew his studies. Not long after recalling 2020 fellows, Fulbright began approving a new round of grantees for 2021.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The experience in Brazil only steeled his resolve to return. Lopez’s interest in the dance of Candomblé, not previously a research focus, grew immensely. His daily transcription practice clarified connections between Candomblé and other Afro-Atlantic religions. He also felt privileged to play support atabaque in a ceremony for the deity Oxúm at the Terreiro Pilão de Prata, he said. “Experiencing the songs, the dance, the trance—that’s what I was there for.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Lopez was only seven weeks into a nine-month Fulbright trip to Brazil, studying music of the syncretic religion Candomblé, when program officials told him to return to the United States.\u003c/p>\n\u003cp>The \u003ca href=\"https://robertlopezmusic.tumblr.com/bio\">Oakland percussionist\u003c/a> and \u003ca href=\"https://www.eastbayexpress.com/oakland/activemusic-series-provides-relaxed-atmosphere-for-strange-sounds/Content?oid=8276603\">improvised music scene fixture\u003c/a> was devastated. Lopez spent years pursuing the prestigious research grant, and he and his partner forfeited their jobs and rent-controlled apartment to move to Salvador, a center of the Afro-Brazilian spiritual practice. “I expected two or three months to plan re-entry,” Lopez said. “Instead it was a matter of days.”\u003c/p>\n\u003cp>Fulbright told Lopez and other grantees to leave Brazil on March 20 as the novel coronavirus escalated into a global pandemic, revoking his healthcare and withholding 41 percent of the $15,350 grant for living and travel expenses. Instead of enhancing safety, Lopez felt Fulbright actually heightened his exposure risk. “Flying back to the U.S., no one was screened,” he said.\u003c/p>\n\u003cp>It’s little consolation that Fulbright now considers Lopez a program alum. “That doesn’t mean anything to me right now,” he said. From temporary housing in the Southern California desert, where Lopez and his partner, experimental musician Shanna Sordahl, have self-quarantined, he’s joining with other Fulbrighters to write congresspeople, asking at least for the full stipend.\u003c/p>\n\u003cp>“But what I want more than anything is to go back to Brazil and finish this project,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg\" alt=\"Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13878169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez, 37, encountered the ensemble drumming of Candomblé, a religious expression borne of the Atlantic slave trade and Portuguese colonialism, as a Cal State Long Beach undergraduate on trips to Brazil with the World Percussion Project. He moved to the Bay Area in 2011 to pursue a graduate degree in the Mills College music department, and five years ago began studying independently with a master Candomblé percussionist and dancer in Oakland, \u003ca href=\"http://www.jorgealabe.com/about.html\">Jorge Alabê\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a Candomblé ceremony, musicians lead dancers in tributes to unique deities, known as orixás. The ensemble generally includes a bell player, two support drummers and a lead drummer playing atabaques, hand drums akin to congas. Lopez was moved by the atabaque’s dynamic range and the music’s fluid feel, especially the improvisational lead drum. Studying with Alabê, he grew skilled enough to support Candomblé dancers for educational and ceremonial purposes.\u003c/p>\n\u003cp>Lopez was fortunate to meet Alabê. Unlike idioms such as samba, master percussionists in the Candomblé tradition are rare outside of Brazil. At the same time, he noticed the music receiving little scholarly attention. He felt the pull of Salvador, a port city in the Bahia state considered sacred in the Candomblé faith, to gain cultural context. “Otherwise it’s like studying jazz coordination patterns on drums without hearing musicians interact in the moment,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RobertLopez.Inline-800x1064.jpg\" alt=\"Robert Lopez and Shanna Sordahl parading during Carnaval.\" width=\"600\" height=\"798\" class=\"size-medium wp-image-13878237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-768x1021.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Robert Lopez and Shanna Sordahl parading during Carnaval. \u003ccite>(Courtesy Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez first’s Fulbright application in 2017 was declined. He re-submitted in October of 2018, and was accepted last April. He learned conversational Portuguese, secured a university affiliation and made key inroads with practitioners in Salvador to prepare for the intensive ethnomusicological study. “I am on the cusp of having the knowledge and ability to take a leadership role in the transmission of Candomblé in the US,” he wrote in the project proposal.\u003c/p>\n\u003cp>For a short while, Lopez was on track to achieve his goals. He and Sordahl sublet the apartment of Rosangela Silvestre, a dancer he’d accompanied as a drummer in California. He received group and individual instruction most days at the Diáspora Art Center in Salvador and private studios from teachers including Nem Britto, Bira Santos, Iuri Passos, Ueslei “Totó” Cruz and Mario Pam. Lopez also developed a daily transcription practice, notating music traditionally taught by example.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In mid-March, Fulbright notified Lopez and some 30 other fellows in Brazil that they could continue receiving medical coverage and their stipend if they signed a waiver releasing the \u003ca href=\"https://eca.state.gov/fulbright\" rel=\"noopener noreferrer\" target=\"_blank\">Department of State-funded program\u003c/a> from liability. Lopez signed it. Days later, though, Fulbright walked back the option. “The order on the 20th said you have days before your health coverage runs out, and you’re not getting funded,” Lopez said. “Fulbright was totally unprepared.”\u003c/p>\n\u003cp>Fulbright has called participants’ health and safety its highest priority in the unprecedented program cancellation, which affects hundreds of fellows worldwide. But many fellows believe they were needlessly exposed, especially now that the United States vastly outpaces other countries in the number of confirmed cases. “By far the greatest worry we had about returning to the United States…was contracting COVID-19 while traveling,” Maia Evrona, a writer and Fulbright fellow studying in Greece and Spain, wrote in an \u003ca href=\"https://lareviewofbooks.org/short-takes/fulbright-covid-19/\">account\u003c/a> for the \u003cem>Los Angeles Review of Books\u003c/em>.\u003c/p>\n\u003cp>Grantees such as Lopez, meanwhile, are now left to recover work and housing in a spiraling economy. “When you leave your place in the Bay Area, it’s hard to come back, especially as an artist,” said Lopez, who’s staying with Sordahl near Joshua Tree. “The next payment is barely a month’s rent.” Lopez previously taught at the Community Music Center and San Francisco Waldorf High School; the music center will rehire him, but the hours aren’t guaranteed, and classes have migrated online. As a musician, his prospects for paid gigs are next to none.\u003c/p>\n\u003cfigure id=\"attachment_13878170\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg\" alt=\"Oxum Square at the Candomblé temple Casa Branca, where Lopez's teacher Jorge Alabê was initiated.\" width=\"1920\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-1020x724.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oxum Square at the Candomblé temple Casa Branca, where Lopez’s teacher Jorge Alabê was initiated. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Fulbright is paying stipends through June, fellows whose trips correspond with the school year are receiving most of the grant. Lopez, however, is among the fellows who started later, putting him out $6,346. At the end of April, he’s anticipating a final payment of $2,254. Receiving the alum title also stings—it implies there’s no option for him to renew his studies. Not long after recalling 2020 fellows, Fulbright began approving a new round of grantees for 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the era of social distancing, few celebrities have carved out a social-media presence as appealing as those of Emily Blunt and John Krasinski. They’re married, so they get to share their isolation — and they’ve been filling the time with a kindhearted weekly YouTube show they call \u003cem>Some Good News\u003c/em>.\u003c/p>\n\u003cp>As the title suggests, it’s a roundup — anchored by Krasinski, with input from special guests — of day-brightening stories about people doing good in the world. The show’s \u003ca href=\"https://www.youtube.com/watch?v=oilZ1hNZPRM\" rel=\"noopener noreferrer\" target=\"_blank\">second episode\u003c/a>, which posted late Sunday, rolls along amiably enough until about midway through, when Krasinski welcomes a 9-year-old named Aubrey.\u003c/p>\n\u003cp>Inspired by a tweet expressing sadness that Aubrey would have to miss her much-anticipated trip to see \u003cem>Hamilton\u003c/em> on Broadway, Krasinski and Blunt informed a starstruck Aubrey that they’d be flying her to see the show once Broadway reopens. But then, given that Blunt starred in \u003cem>Mary Poppins Returns\u003c/em> with one Lin-Manuel Miranda, they decided to top themselves.\u003c/p>\n\u003cp>The moment you can secure a quick break, be sure to strap in for this 17-minute explosion of goodhearted joy, courtesy of the stars of \u003cem>A Quiet Place —\u003c/em> and the entire (socially distanced) original cast of \u003cem>Hamilton\u003c/em>. \u003ca href=\"https://youtu.be/oilZ1hNZPRM?t=10m30s\" rel=\"noopener noreferrer\" target=\"_blank\">Lin-Manuel Miranda comes in at the 10:30 mark\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 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=%27Hamilton%27+Cast+Reunites+For+Emily+Blunt%2C+John+Krasinski+And+One+Lucky+9-Year-Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "‘Lean On Me,’ ‘Lovely Day’ Singer Bill Withers Dies at 81",
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"content": "\u003cp>Bill Withers, who wrote and sang a string of soulful songs in the 1970s that have stood the test of time, including “ Lean on Me, ” “Lovely Day” and “Ain’t No Sunshine,” has died from heart complications, his family said in a statement to The Associated Press. He was 81.\u003c/p>\n\u003cp>The three-time Grammy Award winner, who withdrew from making music in the mid-1980s, died on Monday in Los Angeles, the statement said. His death comes as the public has drawn inspiration from his music during the coronavirus pandemic, with health care workers, choirs, artists and more posting their own renditions on “Lean on Me” to help get through the difficult times.\u003c/p>\n\u003cp>“We are devastated by the loss of our beloved, devoted husband and father. A solitary man with a heart driven to connect to the world at large, with his poetry and music, he spoke honestly to people and connected them to each other,” the family statement read. “As private a life as he lived close to intimate family and friends, his music forever belongs to the world. In this difficult time, we pray his music offers comfort and entertainment as fans hold tight to loved ones.”\u003c/p>\n\u003cp>Withers’ songs during his brief career have become the soundtracks of countless engagements, weddings and backyard parties. They have powerful melodies and perfect grooves melded with a smooth voice that conveys honesty and complex emotions without vocal acrobatics.\u003c/p>\n\u003cp>“Lean on Me,” a paean to friendship, was performed at the inaugurations of both Barack Obama and Bill Clinton. “Ain’t No Sunshine” and “Lean on Me” are among Rolling Stone’s list of the 500 Greatest Songs of All Time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CICIOJqEb5c\u003c/p>\n\u003cp>“He’s the last African-American Everyman,” musician and band leader Questlove told Rolling Stone in 2015. “Bill Withers is the closest thing black people have to a Bruce Springsteen.”\u003c/p>\n\u003cp>His death caused a torrent of appreciation on social media, including from former Obama adviser Valerie Jarrett, who said Withers’ music has been a cherished part of her life. “It added to my joy in the good times, and also gave me comfort and inspiration when I needed it most,” she tweeted. Singer José James said “we need his message of unity now more than ever” and Billy Dee Williams tweeted “your music cheered my heart and soothed my soul.”\u003c/p>\n\u003cp>“We lost a giant of songwriting today,” ASCAP President and Chairman Paul Williams said in a statement. “Bill Withers’ songs are among the most treasured and profound in the American songbook — universal in the way they touch people all over the world, transcending genre and generation. He was a beautiful man with a stunning sense of humor and a gift for truth.”\u003c/p>\n\u003cp>Withers, who overcame a childhood stutter, was born the last of six children in the coal mining town of Slab Fork, West Virginia. After his parents divorced when he was 3, Withers was raised by his mother’s family in nearby Beckley.\u003c/p>\n\u003cp>He joined the Navy at 17 and spent nine years in the service as an aircraft mechanic installing toilets. After his discharge, he moved to Los Angeles, worked at an aircraft parts factory, bought a guitar at a pawn shop and recorded demos of his tunes in hopes of landing a recording contract.\u003c/p>\n\u003cp>In 1971, signed to Sussex Records, he put out his first album, “Just As I Am,” with the legendary Booker T. Jones at the helm. It had the hits “Grandma’s Hands” and “Ain’t No Sunshine,” which was inspired by the Jack Lemmon film “Days of Wine and Roses.” He was photographed on the cover, smiling and holding his lunch pail.\u003c/p>\n\u003cp>“Ain’t No Sunshine” was originally released as the B-side of his debut single, “Harlem.” But radio DJs flipped the disc and the song climbed to No. 3 on the Billboard charts and spent a total of 16 weeks in the top 40.\u003c/p>\n\u003cp>Withers went on to generate more hits a year later with the inspirational “Lean on Me,” the menacing “Who Is He (and What Is He to You)” and the slinky “Use Me” on his second album, “Still Bill.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bEeaS6fuUoA\u003c/p>\n\u003cp>Later would come the striking “Lovely Day,” co-written with Skip Scarborough and featuring Withers holding the word “day” for almost 19 seconds, and “Just the Two Of Us,” co-written with Ralph MacDonald and William Salter. His “Live at Carnegie Hall” in 1973 made Rolling Stone’s 50 Greatest Live Albums of All Time.\u003c/p>\n\u003cp>“The hardest thing in songwriting is to be simple and yet profound. And Bill seemed to understand, intrinsically and instinctively, how to do that,” Sting said in “Still Bill,” a 2010 documentary of Withers.\u003c/p>\n\u003cp>But Withers’ career stalled when Sussex Records went bankrupt and he was scooped up by Columbia Records. He no longer had complete control over his music and chafed when it was suggested he do an Elvis cover. His new executives found Withers difficult.\u003c/p>\n\u003cp>None of his Columbia albums reached the Top 40 except for 1977’s “Menagerie,” which produced “Lovely Day.” (His hit duet with Grover Washington Jr. “Just the Two of Us” was on Washington’s label). Withers’ last album was 1985′s “Watching You Watching Me.”\u003c/p>\n\u003cp>Though his songs often dealt with relationships, Withers also wrote ones with social commentary, including “Better Off Dead” about an alcoholic’s suicide, and “I Can’t Write Left-Handed,” about an injured Vietnam War veteran.\u003c/p>\n\u003cp>He was awarded Grammys as a songwriter for “Ain’t No Sunshine” in 1971 and for “Just the Two Of Us” in 1981. In 1987, Bill received his ninth Grammy nomination and third Grammy as a songwriter for the re-recording of the 1972 hit “ Lean on Me” by Club Nouveau.\u003c/p>\n\u003cp>He was inducted into the Rock and Roll Hall of Fame in 2015 by Stevie Wonder. Withers thanked his wife as well as the R&B pioneers who helped his career like Ray Jackson, Al Bell and Booker T. Jones. He also got in a few jabs at the record industry, saying A&R stood for “antagonistic and redundant.” Withers also was inducted into the Songwriters Hall of Fame in 2005.\u003c/p>\n\u003cp>His music has been covered by such artists as Barbra Streisand, Michael Jackson, Aretha Franklin, Tom Jones, Linda Ronstadt, Paul McCartney, Sting, Johnny Mathis, Aaron Neville, Al Jarreau, Mick Jagger, Nancy Wilson, Diana Ross. His music has been sampled for BlackStreet’s “No Diggity,” Will Smith’s version of “ Just the Two Of Us, ” Black Eyed Peas’ “Bridging the Gap” and Twista’s “Sunshine.” The song “Lean on Me” was the title theme of a 1989 movie starring Morgan Freeman.\u003c/p>\n\u003cp>His songs are often used on the big screen, including “The Hangover,” “28 Days,” “American Beauty,” “Jerry Maguire,” “Crooklyn,” “Flight,” “Beauty Shop,” “The Secret Life of Pets” and “Flight.”\u003c/p>\n\u003cp>“I’m not a virtuoso, but I was able to write songs that people could identify with. 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His “Live at Carnegie Hall” in 1973 made Rolling Stone’s 50 Greatest Live Albums of All Time.\u003c/p>\n\u003cp>“The hardest thing in songwriting is to be simple and yet profound. And Bill seemed to understand, intrinsically and instinctively, how to do that,” Sting said in “Still Bill,” a 2010 documentary of Withers.\u003c/p>\n\u003cp>But Withers’ career stalled when Sussex Records went bankrupt and he was scooped up by Columbia Records. He no longer had complete control over his music and chafed when it was suggested he do an Elvis cover. His new executives found Withers difficult.\u003c/p>\n\u003cp>None of his Columbia albums reached the Top 40 except for 1977’s “Menagerie,” which produced “Lovely Day.” (His hit duet with Grover Washington Jr. “Just the Two of Us” was on Washington’s label). Withers’ last album was 1985′s “Watching You Watching Me.”\u003c/p>\n\u003cp>Though his songs often dealt with relationships, Withers also wrote ones with social commentary, including “Better Off Dead” about an alcoholic’s suicide, and “I Can’t Write Left-Handed,” about an injured Vietnam War veteran.\u003c/p>\n\u003cp>He was awarded Grammys as a songwriter for “Ain’t No Sunshine” in 1971 and for “Just the Two Of Us” in 1981. In 1987, Bill received his ninth Grammy nomination and third Grammy as a songwriter for the re-recording of the 1972 hit “ Lean on Me” by Club Nouveau.\u003c/p>\n\u003cp>He was inducted into the Rock and Roll Hall of Fame in 2015 by Stevie Wonder. Withers thanked his wife as well as the R&B pioneers who helped his career like Ray Jackson, Al Bell and Booker T. Jones. He also got in a few jabs at the record industry, saying A&R stood for “antagonistic and redundant.” Withers also was inducted into the Songwriters Hall of Fame in 2005.\u003c/p>\n\u003cp>His music has been covered by such artists as Barbra Streisand, Michael Jackson, Aretha Franklin, Tom Jones, Linda Ronstadt, Paul McCartney, Sting, Johnny Mathis, Aaron Neville, Al Jarreau, Mick Jagger, Nancy Wilson, Diana Ross. His music has been sampled for BlackStreet’s “No Diggity,” Will Smith’s version of “ Just the Two Of Us, ” Black Eyed Peas’ “Bridging the Gap” and Twista’s “Sunshine.” The song “Lean on Me” was the title theme of a 1989 movie starring Morgan Freeman.\u003c/p>\n\u003cp>His songs are often used on the big screen, including “The Hangover,” “28 Days,” “American Beauty,” “Jerry Maguire,” “Crooklyn,” “Flight,” “Beauty Shop,” “The Secret Life of Pets” and “Flight.”\u003c/p>\n\u003cp>“I’m not a virtuoso, but I was able to write songs that people could identify with. I don’t think I’ve done bad for a guy from Slab Fork, West Virginia,” Withers told Rolling Stone in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Aneesa Strings has traveled the world playing the upright bass, but her story starts right here in Oakland.\u003c/p>\n\u003cp>Strings grew up playing in Oakland public schools and at a local nonprofit, Oaktown Jazz Workshops. She just released a single, called “\u003ca href=\"https://itunes.apple.com/us/album/lovealution-single/1454300709\">Lovealution\u003c/a>,” from her forthcoming second studio album. She says the song explores the validity of nature—the only thing, she likes to say, that’s not a scam.\u003c/p>\n\u003cp>Music is clearly Strings’ second nature, as she’s mastered the art of the upright bass, the piano and vocals. She’s performed as a background musician for L.A. rapper Ill Camille during \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\" target=\"_blank\" rel=\"noopener noreferrer\">an NPR Tiny Desk Concert last year\u003c/a>, and also played a major role in Duckwrth’s European tour in 2018. In 2109, Strings went on tour with jazz singer \u003ca href=\"http://www.josejamesmusic.com/#/tour\">José James.\u003c/a>\u003c/p>\n\u003cp>And Strings is scheduled to be in the SF Jazz collective this fall through spring 2021.\u003c/p>\n\u003cp>In between all of these movements, Strings was in Oakland for a stint, and I caught up with her to discuss her love for music and how she walks the tightrope between R&B and jazz. Click the link above to hear her story.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on March 8, 2019\u003c/em>\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://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Dolly Parton once said: “The way I see it, if you want the rainbow, you gotta put up with the rain.”\u003c/p>\n\u003cp>Now Dolly—apparently conscious of the monsoon-level shitstorm we find ourselves in—has figured out how to be a rainbow for the whole world. She’s going to read us bedtime stories on the internet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3ia-ozHDaLs&feature=emb_logo\u003c/p>\n\u003cp>Dolly Parton has been a champion of children’s literature ever since she founded the \u003ca href=\"https://imaginationlibrary.com/about-us/\" target=\"_blank\" rel=\"noopener noreferrer\">Imagination Library\u003c/a> in 1995. Since that time, the organization has sent over 133 million books to kids in five different countries, entirely free of charge.\u003c/p>\n\u003cp>Starting on April 2, she’ll be reading a book from the library every week for 10 weeks. Tune in via \u003ca href=\"https://www.youtube.com/user/imaginationlibrary\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, \u003ca href=\"https://www.instagram.com/imaginationlibrary/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://www.facebook.com/dollysimaginationlibrary/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> or \u003ca href=\"https://twitter.com/dollyslibrary\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a> this Thursday at 4pm for \u003cem>The Little Engine That Could. \u003c/em>(NB: It is perfectly acceptable to watch these videos whether you have kids or not. Dolly is incredibly soothing in times of woe, regardless of age.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll leave you with a tiny preview, in the form of this 2017 reading by Dolly of \u003cem>Coat of Many Colors. \u003c/em>Which, as you will see, she delivered while wearing a pink pantsuit clearly made of sunshine and magic.\u003c/p>\n\u003cp>Thank you, Dolly Parton.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yO-eL8Q9nus\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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