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"content": "\u003cp>Mutek, the electronic music and arts festival founded in Montreal, expanded to San Francisco in 2018. The vibe is part museum and part rave: festival-goers dance at late-night shows to legacy techno acts and new artists alike; play with installations that use augmented reality and interactive video; and attend panels with artists and thinkers at the cross-sections of music, digital art and science.\u003c/p>\n\u003cp>Dance club the Midway, experimental art space Gray Area and even the California Academy of Sciences have been involved in Mutek’s events over the last two years. And now, during the pandemic, the festival is going entirely online.\u003c/p>\n\u003cp>On May 23 and 24, Mutek.SF presents \u003ca href=\"https://nexus.mutek.us/\" target=\"_blank\" rel=\"noopener noreferrer\">NEXUS Experience\u003c/a>: two days of performances, short film screenings, a digital art gallery and more. It’s hosted on an interactive platform called Currents.FM, where attendees can hang out in virtual viewing rooms with their friends and navigate the festival almost as if it were a physical space.\u003c/p>\n\u003cp>The event is entirely donation-based. Attendees can register for free, but a sliding-scale donation gives additional perks like the ability to host a private viewing room where one can video chat (and dance!) with up to 10 friends.\u003c/p>\n\u003cp>The first wave of the musical lineup is below. \u003ca href=\"https://nexus.mutek.us/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AAAA (MX) / Auscultation + Jason Worden (US) / Drew McDowall + Florence To (UK/US + UK/DE) / Eichef (MX/US) / Force Placement (US) / Francesco Tristano presents: Pianorig Sessions (LU/ES) / Infinite Jess (US) / Jasmine Infiniti + Cozy (US) / Jensen Interceptor b2b Kris Baha + Multiple Man (Visuals) (AU/DE + AU/US) / K-HAND (US) / Marpi (US) / Minimal Violence (CA) / Nate Boyce (US) / Patricia + Josephine Ravitz (US) / Pelada (CA) / RP Boo (US) / Selim X (US) / Solar b2b Mozhgan (US) / Synthestruct (US) / The Creatrix (US) / Very Much Romance (US + BG/US) / YobKiss + Pankow Visual Artists (NL/US + RU/US)\u003c/p>\n\n",
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"content": "\u003cp>When shelter-in-place orders went into effect eight weeks ago in California and the Bay Area, the booking agents, talent buyers, tour managers and promoters who comprise the live music industry scrambled to reschedule spring and summer concerts for as soon as this September. [aside postID=arts_13878116,arts_13850185,arts_13876535]\u003c/p>\n\u003cp>“Everyone went, ‘Okay, seven or eight months will be enough time,’” Tony Bedard, the independent rock and comedy promoter, said in an interview. Then came Governor Gavin Newsom’s statement that the resumption of large gatherings is dependent on the development of vaccines, which likely will not be complete until 2021. “Now with the four-phase plan,” Bedard said, “we know concerts are going to be last to restart, and I’m less confident about October every week.” \u003c/p>\n\u003cp>With local music venues’ economic hardship and uncertainty only growing more pronounced, many operators have joined the newly-formed \u003ca href=\"https://www.nivassoc.org/\">National Independent Venue Association\u003c/a> (NIVA). \u003c/p>\n\u003cp>NIVA’s 1,500 members nationwide include historic venues such as First Avenue in Minneapolis, where Prince made a name for himself; the Troubadour, a home to the 1970s Los Angeles singer-songwriter scene; and D.C.’s storied 9:30 Club. In Northern California, its members number 70 venues and promoters, a mix of small- to mid-sized venues and promoters, as well as large outfits such as Another Planet Entertainment, the Oakland-based company behind the Outside Lands music festival.\u003c/p>\n\u003cp>Bay Area venues that have signed on to NIVA include Bimbo’s 365 Club, Bottom of the Hill, Cornerstone Berkeley, DNA Lounge, the Chapel, Great American Music Hall, the Ivy Room, the UC Theatre, and many others. Local promoters such as Noise Pop, Ineffable Entertainment and the Stern Grove Festival are on board as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. Yet the initial federal economic relief programs “fail to sustain an industry like ours,” it continues. “Without your help, thousands of independent venues will not survive to see the day when our doors can open to the public again.”\u003c/p>\n\u003cp>Independent venues closing could also solidify the \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">controversial expansion\u003c/a> of Live Nation and AEG, parent company of Coachella promoter Goldenvoice, into the local concert market. \u003c/p>\n\u003cp>Live Nation, which operates the Fillmore Auditorium and the Masonic, can burn $150 million a month for the rest of the year “without any concern,” company president Joe Berchtold told Billboard. And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. 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And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "its-still-raining-game-in-northern-california",
"title": "It's Still Raining Game in Northern California",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\n\u003cp>https://youtu.be/e1U-t277yXE\u003c/p>\n\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n",
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"title": "It's Still Raining Game in Northern California | KQED",
"description": "A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.",
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"headline": "It's Still Raining Game in Northern California",
"datePublished": "2020-05-14T17:00:48-07:00",
"dateModified": "2024-09-19T09:08:07-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\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/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\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/e1U-t277yXE'\n title='//www.youtube.com/embed/e1U-t277yXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s popular \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, which attracts tens of thousands of fans to the Sunset district with weekly outdoor concerts every summer, is canceled this year. It’s the first time the festival, known for eclectic programming of indie rock, hip-hop and classical music alike, won’t take place in its 83-year history.\u003c/p>\n\u003cp>The 2020 lineup was to include headliners Animal Collective, Jimmy Cliff, Cuco, Billy Ray Cyrus, Macy Gray, Hanson, San Francisco Ballet, San Francisco Symphony and Tower of Power. Openers Emily Afton, Cindy Lee, North Mississippi Allstars, The Onyx, Megan Slankard and Ana Tijoux were also set to join them on the bill. Organizers say they plan to book some of the same acts for the 2021 edition.\u003c/p>\n\u003cp>The announcement comes as California continues its shelter-in-place orders. Gatherings of hundreds of people are unlikely to happen, Governor Gavin Newsom has said in press briefings, until there’s a coronavirus vaccine, which will likely be in 2021.\u003c/p>\n\u003cp>In the meantime, Stern Grove is launching a video series called \u003cem>Best of the Fest\u003c/em> that features footage of memorable concerts on the festival’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, \u003ca href=\"https://www.youtube.com/user/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, including performances by Sheila E., Pink Martini, the Doobie Brothers, George Clinton and more. These will stream every Sunday June 14–August 16. Additionally, the festival will soon announce an arts education program for children that will include dance and music classes.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s popular \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, which attracts tens of thousands of fans to the Sunset district with weekly outdoor concerts every summer, is canceled this year. It’s the first time the festival, known for eclectic programming of indie rock, hip-hop and classical music alike, won’t take place in its 83-year history.\u003c/p>\n\u003cp>The 2020 lineup was to include headliners Animal Collective, Jimmy Cliff, Cuco, Billy Ray Cyrus, Macy Gray, Hanson, San Francisco Ballet, San Francisco Symphony and Tower of Power. Openers Emily Afton, Cindy Lee, North Mississippi Allstars, The Onyx, Megan Slankard and Ana Tijoux were also set to join them on the bill. Organizers say they plan to book some of the same acts for the 2021 edition.\u003c/p>\n\u003cp>The announcement comes as California continues its shelter-in-place orders. Gatherings of hundreds of people are unlikely to happen, Governor Gavin Newsom has said in press briefings, until there’s a coronavirus vaccine, which will likely be in 2021.\u003c/p>\n\u003cp>In the meantime, Stern Grove is launching a video series called \u003cem>Best of the Fest\u003c/em> that features footage of memorable concerts on the festival’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, \u003ca href=\"https://www.youtube.com/user/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/sterngrovefestival\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>, including performances by Sheila E., Pink Martini, the Doobie Brothers, George Clinton and more. These will stream every Sunday June 14–August 16. Additionally, the festival will soon announce an arts education program for children that will include dance and music classes.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s one place where it’s still safe to mosh to music or wander through a crowded exhibition: your favorite video game. With arts spaces closed, concerts postponed and no one to dress up for, arts spaces, musicians and fashionistas are finding creative ways to stand out in the sea of livestreams and digital collections, by recreating venues—and the experiences they host—in video games. \u003c/p>\n\u003cp>More than 12 million Fortnite players tuned into rapper Travis Scott’s \u003ca href=\"https://pitchfork.com/thepitch/virtual-concerts-travis-scotts-fortnite-100-gecs-minecraft/\" rel=\"noopener noreferrer\" target=\"_blank\">virtual concert\u003c/a>, \u003ci>Astronomic\u003c/i> on April 23. That’s more than the total attendance of both U2 and Ed Sheerhan’s massively successful tours—at a time when Spotify, Amazon Music, and Apple Music have seen their on-demand streams \u003ca href=\"https://variety.com/2020/biz/news/music-streams-down-why-spotify-netflix-1203547387/\" rel=\"noopener noreferrer\" target=\"_blank\">fall by 7%\u003c/a>. The format was so successful Joe Biden is apparently considering \u003ca href=\"https://www.forbes.com/sites/paultassi/2020/05/11/fortnites-travis-scott-concert-cited-as-possible-path-for-virtual-joe-biden-campaign/#403e27393aee\" rel=\"noopener noreferrer\" target=\"_blank\">adopting it\u003c/a> for his presidential campaign.\u003c/p>\n\u003cp>https://youtu.be/g__AuDSfPkU\u003c/p>\n\u003cp>For 10 minutes, a giant Travis Scott teleported around the Fortnite map playing hits like “Sicko Mode” and “Goosebumps,” and debuting \u003ca href=\"https://www.rollingstone.com/music/music-news/rs-charts-top-100-travis-scott-kid-cudi-the-scotts-993562/\" rel=\"noopener noreferrer\" target=\"_blank\">a new song\u003c/a> with Kid Cudi that shot to number one on Rolling Stone’s weekly top 100 chart with over 32 million streams. (At number two, Megan Thee Stallion’s “Savage” has a little over half that number of streams, at 17.4 million.) Players had the option to download character skins—including one inspired by a \u003ca href=\"https://twitter.com/bigracks/status/930664984870379521\" rel=\"noopener noreferrer\" target=\"_blank\">viral tweet\u003c/a> from 2017—and, of course, buy some Fortnite Travis Scott \u003ca href=\"https://www.highsnobiety.com/p/travis-scott-fortnite-merch/\" rel=\"noopener noreferrer\" target=\"_blank\">merch\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13879036']If \u003ci>Astronomic\u003c/i> was a sold-out stadium show, then 100 gecs’ Square Garden Minecraft Festival was a packed warehouse for the extremely online. The electronic duo, who describe themselves as musical scavengers who “destroy the competition with their army of lethal bangers,” was joined by Charli XCX, Kero Kero Bonito and A. G. Cook, among others, for an “open pit Minecraft show” on April 24. The incredibly popular sandbox game is where players use blocks to create pixelated, 8-bit-looking structures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>100 gecs’ Laura Les and Dylan Brady have long expressed their love for middle school dance hits like “Stanky Legg” and “Everytime We Touch,” so the game was the perfect venue for their over-the-top, 2000s-inspired aesthetic. Their chaotic electronic music and ironic internet references meshed with the low-fi block surroundings to create a cohesive, if intense, experience. \u003c/p>\n\u003cp>“I don’t know what Minecraft is,” Charli XCX said between songs. But the crowd went wild when she played a \u003ca href=\"https://soundcloud.com/tufosmashupss/crank-that-vroom-vroom\" rel=\"noopener noreferrer\" target=\"_blank\">mashup\u003c/a> of Soulja Boy’s “Crank Dat” and her own “Vroom Vroom.” For artists looking to create an immersive experience, it pays to partner with a video game whose audience plays well with their own.\u003c/p>\n\u003cfigure id=\"attachment_13880407\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"631\" class=\"size-full wp-image-13880407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot of the May 8 Open Pit-organized concert ‘AETH3R: A Minecraft benefit for Groundswell Fund.’ \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums and the fashion world have found that ideal partner in Animal Crossing, the social simulation game centered around customizing every aspect of a tropical island.\u003c/p>\n\u003cp>Unable to welcome visitors into their exhibitions IRL, museums have started bringing art into peoples’ homes. Speaking to the \u003cem>\u003ca href=\"https://www.nytimes.com/2020/03/30/arts/design/museums-coronavirus-adam-koszary.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/em>, the Royal Academy’s social media editor Adam Koszary explains, “A lot of people are going to fall into the trap of just trying to give people what they’d come to see in person on the screen.” \u003c/p>\n\u003cp>That’s where Animal Crossing comes in. Now, the Metropolitan Museum of Art’s entire collection is available to own and display in the game. Likewise, the Instagram account \u003ca href=\"https://www.instagram.com/animalcrossingfashionarchive/\" rel=\"noopener noreferrer\" target=\"_blank\">@AnimalCrossingFashionArchive\u003c/a> documents designer looks recreated for Animal Crossing avatars. What started as a small group of friends has led to partnerships with fashion houses like \u003ca href=\"https://www.instagram.com/p/B_sl6J9j9eD/\" rel=\"noopener noreferrer\" target=\"_blank\">Marc Jacobs\u003c/a> and Valentino. \u003c/p>\n\u003cp>https://www.instagram.com/p/B_nK9h5pMSQ/\u003c/p>\n\u003cp>If listening to music or looking at paintings online were a replacement for concerts or exhibits, music venues and museums would have closed a long time ago; physical spaces are crucial to facilitating the conversations and insights that help us appreciate and enjoy art. (One Square Garden attendant commented, “You just can’t replicate moshing and some girl getting her hair twisted on the button of your jean jacket.”) \u003c/p>\n\u003cp>But virtual concerts also open the doors for people who wouldn’t otherwise get to experience those events. The average price for a Travis Scott concert ticket is well over a hundred dollars—not something most casual listeners would drop for a show. Christian Nisperos, who attended \u003ci>Astronomic\u003c/i> as well as a few other virtual concerts since shelter in place started, typically doesn’t go to many shows in person. “One of the main drawbacks for me is cost,” he explains. “Many IRL concerts can get fairly expensive, but these virtual concerts have been free.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cultural experiences that once stood behind barriers—whether physical, financial or geographic—are now available to anyone with an internet connection. And while we’re all eagerly waiting for the next time we get to go see a show with our friends, more democratic access to art and music is a development well worth preserving.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s one place where it’s still safe to mosh to music or wander through a crowded exhibition: your favorite video game. With arts spaces closed, concerts postponed and no one to dress up for, arts spaces, musicians and fashionistas are finding creative ways to stand out in the sea of livestreams and digital collections, by recreating venues—and the experiences they host—in video games. \u003c/p>\n\u003cp>More than 12 million Fortnite players tuned into rapper Travis Scott’s \u003ca href=\"https://pitchfork.com/thepitch/virtual-concerts-travis-scotts-fortnite-100-gecs-minecraft/\" rel=\"noopener noreferrer\" target=\"_blank\">virtual concert\u003c/a>, \u003ci>Astronomic\u003c/i> on April 23. That’s more than the total attendance of both U2 and Ed Sheerhan’s massively successful tours—at a time when Spotify, Amazon Music, and Apple Music have seen their on-demand streams \u003ca href=\"https://variety.com/2020/biz/news/music-streams-down-why-spotify-netflix-1203547387/\" rel=\"noopener noreferrer\" target=\"_blank\">fall by 7%\u003c/a>. The format was so successful Joe Biden is apparently considering \u003ca href=\"https://www.forbes.com/sites/paultassi/2020/05/11/fortnites-travis-scott-concert-cited-as-possible-path-for-virtual-joe-biden-campaign/#403e27393aee\" rel=\"noopener noreferrer\" target=\"_blank\">adopting it\u003c/a> for his presidential campaign.\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/g__AuDSfPkU'\n title='//www.youtube.com/embed/g__AuDSfPkU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For 10 minutes, a giant Travis Scott teleported around the Fortnite map playing hits like “Sicko Mode” and “Goosebumps,” and debuting \u003ca href=\"https://www.rollingstone.com/music/music-news/rs-charts-top-100-travis-scott-kid-cudi-the-scotts-993562/\" rel=\"noopener noreferrer\" target=\"_blank\">a new song\u003c/a> with Kid Cudi that shot to number one on Rolling Stone’s weekly top 100 chart with over 32 million streams. (At number two, Megan Thee Stallion’s “Savage” has a little over half that number of streams, at 17.4 million.) Players had the option to download character skins—including one inspired by a \u003ca href=\"https://twitter.com/bigracks/status/930664984870379521\" rel=\"noopener noreferrer\" target=\"_blank\">viral tweet\u003c/a> from 2017—and, of course, buy some Fortnite Travis Scott \u003ca href=\"https://www.highsnobiety.com/p/travis-scott-fortnite-merch/\" rel=\"noopener noreferrer\" target=\"_blank\">merch\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If \u003ci>Astronomic\u003c/i> was a sold-out stadium show, then 100 gecs’ Square Garden Minecraft Festival was a packed warehouse for the extremely online. The electronic duo, who describe themselves as musical scavengers who “destroy the competition with their army of lethal bangers,” was joined by Charli XCX, Kero Kero Bonito and A. G. Cook, among others, for an “open pit Minecraft show” on April 24. The incredibly popular sandbox game is where players use blocks to create pixelated, 8-bit-looking structures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>100 gecs’ Laura Les and Dylan Brady have long expressed their love for middle school dance hits like “Stanky Legg” and “Everytime We Touch,” so the game was the perfect venue for their over-the-top, 2000s-inspired aesthetic. Their chaotic electronic music and ironic internet references meshed with the low-fi block surroundings to create a cohesive, if intense, experience. \u003c/p>\n\u003cp>“I don’t know what Minecraft is,” Charli XCX said between songs. But the crowd went wild when she played a \u003ca href=\"https://soundcloud.com/tufosmashupss/crank-that-vroom-vroom\" rel=\"noopener noreferrer\" target=\"_blank\">mashup\u003c/a> of Soulja Boy’s “Crank Dat” and her own “Vroom Vroom.” For artists looking to create an immersive experience, it pays to partner with a video game whose audience plays well with their own.\u003c/p>\n\u003cfigure id=\"attachment_13880407\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"631\" class=\"size-full wp-image-13880407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot of the May 8 Open Pit-organized concert ‘AETH3R: A Minecraft benefit for Groundswell Fund.’ \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums and the fashion world have found that ideal partner in Animal Crossing, the social simulation game centered around customizing every aspect of a tropical island.\u003c/p>\n\u003cp>Unable to welcome visitors into their exhibitions IRL, museums have started bringing art into peoples’ homes. Speaking to the \u003cem>\u003ca href=\"https://www.nytimes.com/2020/03/30/arts/design/museums-coronavirus-adam-koszary.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/em>, the Royal Academy’s social media editor Adam Koszary explains, “A lot of people are going to fall into the trap of just trying to give people what they’d come to see in person on the screen.” \u003c/p>\n\u003cp>That’s where Animal Crossing comes in. Now, the Metropolitan Museum of Art’s entire collection is available to own and display in the game. Likewise, the Instagram account \u003ca href=\"https://www.instagram.com/animalcrossingfashionarchive/\" rel=\"noopener noreferrer\" target=\"_blank\">@AnimalCrossingFashionArchive\u003c/a> documents designer looks recreated for Animal Crossing avatars. What started as a small group of friends has led to partnerships with fashion houses like \u003ca href=\"https://www.instagram.com/p/B_sl6J9j9eD/\" rel=\"noopener noreferrer\" target=\"_blank\">Marc Jacobs\u003c/a> and Valentino. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If listening to music or looking at paintings online were a replacement for concerts or exhibits, music venues and museums would have closed a long time ago; physical spaces are crucial to facilitating the conversations and insights that help us appreciate and enjoy art. (One Square Garden attendant commented, “You just can’t replicate moshing and some girl getting her hair twisted on the button of your jean jacket.”) \u003c/p>\n\u003cp>But virtual concerts also open the doors for people who wouldn’t otherwise get to experience those events. The average price for a Travis Scott concert ticket is well over a hundred dollars—not something most casual listeners would drop for a show. Christian Nisperos, who attended \u003ci>Astronomic\u003c/i> as well as a few other virtual concerts since shelter in place started, typically doesn’t go to many shows in person. “One of the main drawbacks for me is cost,” he explains. “Many IRL concerts can get fairly expensive, but these virtual concerts have been free.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cultural experiences that once stood behind barriers—whether physical, financial or geographic—are now available to anyone with an internet connection. And while we’re all eagerly waiting for the next time we get to go see a show with our friends, more democratic access to art and music is a development well worth preserving.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cue the \u003cem>Hamilton\u003c/em> quotes: Soon, the room where it happens will be your living room! Shout it to the rooftops that the Broadway sensation \u003cem>Hamilton\u003c/em> will be available for home viewing this summer! Look around, look around to see how lucky we are to be alive in a world where \u003cem>Hamilton\u003c/em> is coming to Disney+ on July 3, more than 15 months ahead of schedule!\u003c/p>\n\u003cp>Earlier this year, creator and star Lin-Manuel Miranda announced that a \u003cem>Hamilton\u003c/em> movie — filmed in 2016 with the original Broadway cast at New York’s Richard Rodgers Theatre — was coming to theaters in October 2021. Given the show’s continued popularity on stage — it won 11 Tony Awards, spun off popular albums and books, spawned multiple successful touring companies and became an all-around pop-culture sensation — the announcement of a considerably less pricey theatrical release was a welcome surprise.\u003c/p>\n\u003cp>But Tuesday morning, Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/1260181905909129216?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\">tweeted\u003c/a> that fans wouldn’t have to wait even that long: The recording will likely bypass theatrical release entirely, and will instead come to the streaming service Disney+ in July, less than two months from today.\u003c/p>\n\u003cp>It’s a major coup for Disney+ in its bid to compete with heavy-hitting streaming services like Netflix and Hulu — and a major boon for \u003cem>Hamilton\u003c/em> fans and viewers who’ve fretted about the uncertainty surrounding this year’s summer movies with theaters still closed due to COVID-19. It’s no doubt less welcome news for those theaters, which have lost enormous business due to the combination of closures and home streaming. \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+Coming+To+Disney%2B+On+July+3%2C+Bypassing+2021+Theatrical+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cue the \u003cem>Hamilton\u003c/em> quotes: Soon, the room where it happens will be your living room! Shout it to the rooftops that the Broadway sensation \u003cem>Hamilton\u003c/em> will be available for home viewing this summer! Look around, look around to see how lucky we are to be alive in a world where \u003cem>Hamilton\u003c/em> is coming to Disney+ on July 3, more than 15 months ahead of schedule!\u003c/p>\n\u003cp>Earlier this year, creator and star Lin-Manuel Miranda announced that a \u003cem>Hamilton\u003c/em> movie — filmed in 2016 with the original Broadway cast at New York’s Richard Rodgers Theatre — was coming to theaters in October 2021. Given the show’s continued popularity on stage — it won 11 Tony Awards, spun off popular albums and books, spawned multiple successful touring companies and became an all-around pop-culture sensation — the announcement of a considerably less pricey theatrical release was a welcome surprise.\u003c/p>\n\u003cp>But Tuesday morning, Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/1260181905909129216?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\">tweeted\u003c/a> that fans wouldn’t have to wait even that long: The recording will likely bypass theatrical release entirely, and will instead come to the streaming service Disney+ in July, less than two months from today.\u003c/p>\n\u003cp>It’s a major coup for Disney+ in its bid to compete with heavy-hitting streaming services like Netflix and Hulu — and a major boon for \u003cem>Hamilton\u003c/em> fans and viewers who’ve fretted about the uncertainty surrounding this year’s summer movies with theaters still closed due to COVID-19. It’s no doubt less welcome news for those theaters, which have lost enormous business due to the combination of closures and home streaming. \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+Coming+To+Disney%2B+On+July+3%2C+Bypassing+2021+Theatrical+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'SNL' Just Wrapped its 45th Season: It's Time to Cruelly Rank its Musical Guests",
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"content": "\u003cp>We’re roughly two months into a collective crisis that’s kept us sheltered in place, cut off from friends and fearful for the future of our health, our families and our economic well-being. Our emotions frequently form a thick slurry of anxiety, worry, boredom, rage and desperate desire for threads of normalcy; for moments of mundanity; for the calming comfort of the familiar.\u003c/p>\n\u003cp>Which is why, in the interest of national unity—of shared struggle, of resilience, of all-in-this-togetherness, of \u003cem>patriotism\u003c/em>—it is \u003cem>vital\u003c/em> that we reflect on the most recent season of \u003cem>Saturday Night Live\u003c/em> and mean-spiritedly rank the quality of its musical guests. We did this \u003ca href=\"https://www.npr.org/2019/05/20/724884348/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> (with apologies to Greta Van Fleet) and \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a> (with apologies to James Bay, whose performance almost definitely happened, though we can’t be 100 percent certain). So now, friends, that tradition continues.\u003c/p>\n\u003cp>A few quick notes about \u003cem>SNL\u003c/em>‘s 45th season, which ended Saturday: Due to COVID-19, what was intended to be a 21-episode season was shortened to 18 shows, only 15 of which took place before a live audience. The last three, nicknamed \u003cem>Saturday Night Live at Home\u003c/em>, were cobbled together from performers’ residences—including those of the musical guests. \u003cem>SNL\u003c/em>‘s Studio 8H stage isn’t always kind to musicians, but it’s bound to present advantages over a setting that provides no audience feedback. We’ll attempt to take that into consideration.\u003c/p>\n\u003cp>Finally, maybe it was the smaller sample size, but no one in this year’s lineup toppled headlong into a grisly train wreck the way certain acts (\u003cem>cough\u003c/em> Kanye West \u003cem>cough\u003c/em> DJ Khaled \u003cem>cough\u003c/em> Greta Van Fleet) did last season. So last place in Season 45 should be read as more “meh” than… you know, traumatic.\u003c/p>\n\u003cp>All right, let’s do this! \u003cem>(Oh, and we’ve linked to every performance that’s still officially available on YouTube.)\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>18. The Weeknd, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=17GxpgE-Fwo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Blinding Lights\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=6Nm9RZqBaBM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Scared to Live\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Nm9RZqBaBM\u003c/p>\n\u003cp>Okay, so let’s start with the weirdly busted-up face: As with The Weeknd’s other appearances in support of his new album \u003cem>After Hours\u003c/em>, the singer performed on \u003cem>SNL\u003c/em> wearing makeup designed to make it look as if he’d just broken his nose. (The album chronicles a rough night out on the town, after all.) So, you know: red suit jacket, nice shoes, blood streaming down his cheek.\u003c/p>\n\u003cp>To liven up the actual performances, it’s best to imagine a backstage scenario in which, say, Cecily Strong was like, “Hey, The Weeknd! Your 2016 song ‘I Feel It Coming (feat. Daft Punk),” while catchy, is nakedly derivative of Michael Jackson! [*bomp*]”\u003c/p>\n\u003cp>We certainly wouldn’t wish actual violence upon the singer, nor would anyone accuse Cecily Strong of such impudence. It’s just that a little bit of fiction livens up the fact that this performance of “Scared to Live” was \u003cem>so, so, so boring\u003c/em>. On the album, the song is a moody tone-setter; on the \u003cem>SNL\u003c/em> stage, it was a bathroom break in song form. With the singer standing gamely alongside bright panels of mirrors, “Blinding Lights” put a bit more pep in its step, but The Weeknd still seemed to have expended most of his energy and dynamism in the makeup chair.\u003c/p>\n\u003cp>\u003cstrong>17. Luke Combs, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=B38JvahZxlc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lovin’ on You\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=7A_CIU4mU60\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Beer Never Broke My Heart\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B38JvahZxlc\u003c/p>\n\u003cp>It’s unfair to Luke Combs to rank him on a scale that rewards onstage spectacle: The singer is one of the biggest stars in country music, at least in part \u003cem>because\u003c/em> his most muscular, rowdily beer-forward songs are so straight-ahead and lyrically unadorned. It’s not a putdown to say that Combs’ \u003cem>SNL\u003c/em> renditions of “Lovin’ on You” and “Beer Never Broke My Heart” are indistinguishable from performances he and his band would give in a bar. (Not that they’ve played bars in years; Combs was selling out arenas pre-COVID.)\u003c/p>\n\u003cp>The issue here is that the songs themselves just aren’t \u003cem>interesting\u003c/em>. “Lovin’ on You” is one of those here-is-a-list-of-things country songs that could have been written by an app, while “Beer Never Broke My Heart” sounds like… well, it could have been written by an app that makes beer commercials. With his bushy red beard and acrylic baseball cap, Combs is as approachable a superstar as you’ll find. But on \u003cem>SNL\u003c/em>, he stuck to his most boilerplate material, leaving softer stunners like “\u003ca href=\"https://www.youtube.com/watch?v=P7kqqmr2HWI\" target=\"_blank\" rel=\"noopener noreferrer\">Even Though I’m Leaving\u003c/a>” for another day.\u003c/p>\n\u003cp>\u003cstrong>16. Niall Horan, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=eRA-h44Nn98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nice to Meet Ya\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5iboimrLFE8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Put a Little Love on Me\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5iboimrLFE8\u003c/p>\n\u003cp>In a truncated \u003cem>SNL\u003c/em> season, fully one-ninth of the headlining musical guests were former members of One Direction: That’d be Harry Styles (see below) and Niall Horan, who put out a fine solo album back in March, just as the world was beginning to crumble around us. Horan previewed that record on \u003cem>SNL\u003c/em> by performing a pair of its singles: the chugging “Nice to Meet Ya” and the tender piano ballad “Put a Little Love on Me.”\u003c/p>\n\u003cp>Each song is sturdy enough—and catnip for Horan’s zillions of fans—but both felt a little drab on the \u003cem>SNL\u003c/em> stage. “Nice to Meet Ya” reverberated gamely with the reincarnated spirit of Rick Astley (who, it must be noted, is not dead), but little else about the performance would be remembered by morning. And while Horan gave “Put a Little Love on Me” his all vocally, the piano-bar arrangement generated scarcely enough energy to warm up a teacup full of skim milk.\u003c/p>\n\u003cp>Also, we got Harry Styles and Niall Horan, but no Zayn Malik? Bring us Zayn, you ghouls! #justiceforzayn #nozaynnopeace\u003c/p>\n\u003cp>\u003cstrong>15. Camila Cabello, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=yWLorxdRxRg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cry for Me\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Syzcvdm1hq4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Easy\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Syzcvdm1hq4\u003c/p>\n\u003cp>Camila Cabello has spent years on the pop-star treadmill—first in Fifth Harmony and then as the chart-topping singer of songs like “Havana” and “Señorita”—without establishing a terribly distinct public persona. The Cuban-American’s songs often evoke a sense of place to match their sultriness, but Cabello herself remains somewhat unknowable; no matter how thoughtfully \u003ca href=\"https://www.independent.co.uk/life-style/health-and-families/camila-cabello-anxiety-nervous-singing-public-shawn-mendes-senorita-a9015041.html\" target=\"_blank\" rel=\"noopener noreferrer\">she’s opened up to the public\u003c/a>, her candor rarely seems to seep into the songs she sings.\u003c/p>\n\u003cp>That didn’t change with the skillful-but-bloodless singles she performed in her \u003cem>SNL\u003c/em> debut, although “Cry for Me” at least got a grandly choreographed theatrical staging, complete with Marie Antoinette get-up and dancers twirling around in vintage attire. By comparison, “Easy” felt a bit stilted and pageant-y, as Cabello performed the song while standing in a white silk gown, her feet planted to the floor.\u003c/p>\n\u003cp>\u003cstrong>14. Boyz II Men with Babyface, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pLLXlbaF9cE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>A Song for Mama\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pLLXlbaF9cE\u003c/p>\n\u003cp>The final episode of \u003cem>Saturday Night Live at Home\u003c/em>—and of the show’s 45th season—happened to take place on the eve of Mother’s Day. So the show opted for a brief, good-natured, low-key tribute courtesy of Babyface and Boyz II Men, whose members performed their 1997 chart-topper “A Song for Mama” from the confines of their respective domiciles. (\u003cem>SNL’\u003c/em>s home editions have provided peeks into many performers’ home lives. In this case, we learned that Babyface and Boyz II Men live among many, many framed gold and platinum records.)\u003c/p>\n\u003cp>As for “A Song for Mama,” the moment was sweet—and rendered that much more sentimental via the screening of archival photos of \u003cem>SNL\u003c/em> cast members with their moms. But with each performer appearing remotely, the finished product felt a little… well, remote.\u003c/p>\n\u003cp>That said, now that Mother’s Day is over, may we recommend \u003ca href=\"https://www.youtube.com/watch?v=sasPmpBhR10\" target=\"_blank\" rel=\"noopener noreferrer\">a far livelier COVID performance\u003c/a> by Boyz II Men, in which the singing sensations appear from their homes along with New Kids on the Block, Naughty by Nature, Big Freedia (!!!), Jordin Sparks and an assortment of bonkers cameos? Because it is ridiculous, and it is fun, and it’s a reminder that staying home doesn’t mean you can \u003cem>only\u003c/em> listen to songs about what a low-key bummer it is to stay home.\u003c/p>\n\u003cp>\u003cstrong>13. Justin Bieber, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=b9DBJsXtays\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Yummy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jiJmC_kqXJ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Intentions\u003c/strong>\u003c/a>\u003cstrong> feat. Quavo”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b9DBJsXtays\u003c/p>\n\u003cp>The good news: Justin Bieber tore through two new songs from \u003cem>Changes\u003c/em> with considerable energy, backed by starkly lit dancers, attention-grabbing sets and, late in “Intentions,” a welcome appearance by Migos rapper Quavo.\u003c/p>\n\u003cp>The less-good news: Bieber’s vocals were pretty wobbly and… yeah, “Yummy” is \u003cem>at least\u003c/em> as insipid as its title suggests.\u003c/p>\n\u003cp>All of which is to say: This was the latest mixed bag in a career that’s produced some A+ pop bangers, some forgettable trifles, a lavish assortment of embarrassing growing pains and one ugly-ass mustache.\u003c/p>\n\u003cp>\u003cstrong>12. Halsey, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jGYo1bmqn40\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>You Should Be Sad\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RFcIBSgk9dQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Finally // Beautiful Stranger\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jGYo1bmqn40\u003c/p>\n\u003cp>Halsey grew up in New Jersey, which places her not terribly far from 30 Rockefeller Plaza. So, while we’re not suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice, we’re also not \u003cem>not\u003c/em> suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice. Halsey is on \u003cem>SNL\u003c/em> a \u003cem>lot\u003c/em>. From the beginning of 2018 through January of this year, the show featured women as headlining musical guests 16 out of a possible 44 times. Halsey has claimed \u003cem>three\u003c/em> of those spots, and that’s not even counting the time the singer popped up during Lil Wayne’s set.\u003c/p>\n\u003cp>The latest iteration of Halsey on \u003cem>SNL\u003c/em> felt oddly low-energy—which is kind of a feat when you consider that 1.) she performed the midtempo “You Should Be Sad” while glued into a Frederick’s of Hollywood castoff; and 2.) she opened her set astride a mechanical bull and later got hoisted aloft by scantily clad dancers. “Finally // Beautiful Stranger” was less eventful (by design) and slower still: a vocal showcase that demonstrated both Halsey’s range and her tendency to embellish her vocals with what can only be described as “simulated AutoTune.”\u003c/p>\n\u003cp>\u003cstrong>11. King Princess, “1950” and “Hit the Back”\u003c/strong>\u003c/p>\n\u003cp>King Princess (a.k.a. Mikaela Straus) has only released an album and an EP, but she’s already working from a toolkit that encompasses and transcends multiple blended genres. For her \u003cem>SNL\u003c/em> debut, the young shapeshifter showed off her affinity for two of them: the slick, wiry, slow-burning, guitar-wielding rock of “1950” and the coyly suggestive, alternately seething and propulsive dance-pop of “Hit the Back.”\u003c/p>\n\u003cp>Taken as a whole, the performance felt more like an introduction than a coronation: King Princess waited to really cut loose until late in “Hit the Back,” when a series of body-rolls gave way to full-blown thrashing. Norm-busting icons generally aren’t made overnight, but she’s well on her way; this relatively contained \u003cem>SNL\u003c/em> stop felt like Step 1 on a long journey.\u003c/p>\n\u003cp>\u003cstrong>10. Chris Martin, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MdzFWMhNPc0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Shelter From The Storm\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MdzFWMhNPc0\u003c/p>\n\u003cp>Once COVID-19 made it impossible to put together a traditional episode of \u003cem>Saturday Night Live\u003c/em>—and forced the cancellation of a planned show with musical guest Dua Lipa—producers did what they could to assemble an episode cobbled together from material recorded at performers’ homes. Casualties of this arrangement included the live audience, the live laughter, the live applause, the 30 Rock soundstage, much of the interpersonal chemistry, the musical guest’s second song and an unwritten rule that prevents singers from headlining more than one episode in a single season.\u003c/p>\n\u003cp>Chris Martin’s band Coldplay was the musical guest back in November—see below—but he returned in April to perform a cover of Bob Dylan’s situationally appropriate 1975 classic “Shelter From the Storm.” Shot in dusky, grayish black-and-white (presumably to pay tribute to the film \u003ca href=\"https://www.imdb.com/title/tt0061589/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dont Look Back\u003c/em>\u003c/a>), the set-up felt bare-bones in a cable-access sort of way, as Martin wisely skipped embellishments that might have watered down the original. Hardly a Technicolor showstopper, but right for the moment at hand.\u003c/p>\n\u003cp>\u003cstrong>9. Harry Styles, “Lights Up” and “Watermelon Sugar”\u003c/strong>\u003c/p>\n\u003cp>It’s a wonder that Harry Styles found the time to put together grabby stage presentations of “Lights Up” and “Watermelon Sugar,” given his to-do list for the night: The former One Direction star (and current \u003ca href=\"https://www.npr.org/2020/03/13/814424330/2-green-bay-packers-fans-chat-behind-the-tiny-desk-and-one-of-them-is-harry-styl\" target=\"_blank\" rel=\"noopener noreferrer\">Green Bay Packers fan\u003c/a>) was also serving as \u003cem>SNL\u003c/em> \u003cem>host\u003c/em>, acting in a bunch of sketches and, at one point, appearing in a prerecorded video as the human embodiment of Aidy Bryant’s dog. The live songs, performed in the run-up to Styles’ recent album \u003cem>Fine Line\u003c/em>, could’ve easily registered as an afterthought, and they thankfully didn’t.\u003c/p>\n\u003cp>Opening with the more subdued “Lights Up,” Styles appeared with a stately band and a solemn choir. As such, the performance felt a little uneventful—though it should be noted that Styles brought his wardrobe A-game in a way other men seriously ought to emulate. (That sparkly jumpsuit is \u003cem>killer\u003c/em>.) “Watermelon Sugar” brings another great outfit and a nice jolt of fervent energy, as Styles danced and strutted about while surrounded by a crack band that included a four-piece horn section.\u003c/p>\n\u003cp>\u003cstrong>8. Taylor Swift, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=dmipFjOtMA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lover\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kjD3LoXp-Pw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>False God\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dmipFjOtMA8\u003c/p>\n\u003cp>This was hardly Taylor Swift’s first \u003cem>SNL\u003c/em> rodeo, given that she’s been a host, made a few cameos and served as a headlining musical guest more than once. And Swift has spent countless promotional cycles serving up lavish, uneven, often high-concept performances at awards shows and on late-night TV. So it was actually refreshing to see her so dialed-down and at-ease in these stripped-down performances of highlights from her latest album, \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>That record’s wedding-ready title track got an especially raw treatment on \u003cem>SNL\u003c/em>, as her solo-piano rendition highlighted the song’s conversational emotionalism and a hook so subtle, you hardly notice it burrowing into your brain for eternity. Less emotionally rich but more visually eventful was “False God,” in which Swift glided through the song amid soft, floating coils of light and the prominent saxophone solos of \u003cem>SNL\u003c/em> bandleader (and former Tower of Power player) Lenny Pickett.\u003c/p>\n\u003cp>\u003cstrong>7. Miley Cyrus, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zUYo8xQf4PY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Wish You Were Here\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zUYo8xQf4PY\u003c/p>\n\u003cp>The first week of \u003cem>Saturday Night Live at Home\u003c/em> made a valiant attempt to re-create an episode of the show while juggling technological limitations, a dark national mood and the fact that virtually no one could be in the same room together. The second week ran far more smoothly: Funnier and slicker, it also benefited from the fact that its musical guest, Miley Cyrus, didn’t look as if she was starring in a hostage video.\u003c/p>\n\u003cp>Bathed in red light while sitting aside a fire pit at night, Cyrus belted out Pink Floyd’s 1975 lighter-waver “Wish You Were Here” with the socially distanced accompaniment of guitarist Andrew Watt. (The choice of Watt—a bestselling pop producer, guitarist and songwriter who’s working with Cyrus on her next album—felt notable, in part because Watt \u003ca href=\"https://variety.com/2020/music/news/music-producer-andrew-watt-coronavirus-pneumonia-1203537066/\" target=\"_blank\" rel=\"noopener noreferrer\">has written publicly\u003c/a> about his recent battle with COVID-19.)\u003c/p>\n\u003cp>For a simple set-up recorded under difficult circumstances, Cyrus’ performance did a pretty ingenious job of turning back-porch busking into the stuff of late-night sound stages. It had visual drama: smoke, flames, distinct lighting, moody accompaniment, lavish fashion. But it also served up the umpteenth reminder that Miley Cyrus is a marvelous singer, with vocal—and emotional—range to spare.\u003c/p>\n\u003cp>\u003cstrong>6. Coldplay, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=EUxsb0Zpe8w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Orphans\u003c/strong>\u003c/a>\u003cstrong>” and “Everyday Life”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EUxsb0Zpe8w\u003c/p>\n\u003cp>Bash Coldplay all you want, but this performance of “Orphans” showed exactly how to liven up a typical spot as a late-night musical guest: Chris Martin opened the song from a supply closet in the back of the room before making his way into the audience to perform with clusters of cast members, musicians and randos. He eventually ran to the stage, at which point he finished the song while backed by members of his band, a colorful animated video on a giant screen and an enormous throng of dancers. It was an immensely buoyant, memorable performance.\u003c/p>\n\u003cp>By comparison, “Everyday Life” couldn’t help but fizzle earnestly, though the song’s melancholy notes of tentatively uplifting empathy resonate more now than they did all the way back in November 2019. But let’s not neglect the \u003cem>real\u003c/em> takeaway here: Sure, Chris Martin’s distressed tee probably cost $1,400 or something, but he looked like he just got done insulating his attic. Could you imagine Halsey getting to perform in that grubby rag? We will never achieve gender equality until male performers dress better (see: Harry Styles) or female performers dress worse—preferably both.\u003c/p>\n\u003cp>\u003cstrong>5. DaBaby, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=YffEyeWn_fA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bop\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pbGLwe53-LI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Suge\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YffEyeWn_fA\u003c/p>\n\u003cp>DaBaby understands that you can perform a couple of songs on TV, or you can put on a show of your own. Backed by a few musicians, a giant throng of dancers and a woman who periodically twerked from a full handstand, DaBaby served as both rapper and ringmaster. Unafraid to dive into the choreography, he felt fully integrated into the mayhem—which featured not only the hip-hop dance crew Jabbawockeez, but also a whole bunch of stage fighting. (Why stage fighting? Hey, why did the other 17 entries on this list \u003cem>not\u003c/em> include stage fighting? Lookin’ your way, Niall Horan.)\u003c/p>\n\u003cp>Of course, all that ludicrous theatrical chaos wouldn’t have mattered much without tight, hooky songs to back it up, and DaBaby came to work there, too. Performing with a showman’s charisma, the young star seemed to be having a blast. That can be more than half the battle, right there.\u003c/p>\n\u003cp>\u003cstrong>4. Billie Eilish, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Jn1Uwsg3eRQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>bad guy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=m6AdQLB_19g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Love You\u003c/strong>\u003c/a>\u003cstrong> (feat. Finneas O’Connell)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jn1Uwsg3eRQ\u003c/p>\n\u003cp>Billie Eilish was basically bulletproof in 2019: Her debut album spawned a string of huge hits, and “bad guy” was the only juggernaut omnipresent enough to knock “Old Town Road” off its perch at the top of the pop charts. She kicked off 2020 by sweeping every major category at the Grammys—the youngest artist ever to do so. And, along the path to domination, she provided one of the biggest “wow” moments in recent \u003cem>SNL\u003c/em> history.\u003c/p>\n\u003cp>With a concept liberally borrowed from the 1951 film \u003cem>Royal Wedding\u003c/em>—the one in which Fred Astaire climbs the walls before dancing on the ceiling—Eilish’s pajama- and walking-boot-clad \u003cem>SNL\u003c/em> performance of “bad guy” duplicated the gravity-defying effect to perfection, thanks to a boxy miniaturized set (and a camera) that rotated like a hamster wheel. Before viewers could finish Googling “How did Billie Eilish do that \u003cem>SNL\u003c/em>,” the show panned out to reveal the trick, which somehow made the whole thing seem even more impressive.\u003c/p>\n\u003cp>After so much razzle-dazzle, Eilish hardly needed to return for a second song. But she took a decent-sized swing anyway, showcasing her balladeering softer side—still a new look for her back in September—in a whispery take on “I Love You.” Joined on guitar by her similarly Grammy-festooned brother Finneas O’Connell, Eilish more than held her own. But it was somewhat drowsy as a set-closer, especially after the sugar high she’d just pulled off.\u003c/p>\n\u003cp>\u003cstrong>3. Chance The Rapper, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=SnlUnGj54hM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Zanies and Fools\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RwX2IpcmN_w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Handsome\u003c/strong>\u003c/a>\u003cstrong> (feat. Megan Thee Stallion)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RwX2IpcmN_w\u003c/p>\n\u003cp>This was Chance the Rapper’s second stint as a musical guest, his second stint as an enormously funny and good-natured \u003cem>SNL\u003c/em> host, and his first time pulling double duty. Hell, he even introduced himself at the top of “Zanies and Fools,” letting a clip of his adorable daughter fill the time between his introduction (“Ladies and gentlemen, Chance the Rapper”) and the performance itself. The guy does it all, and does it extraordinarily well.\u003c/p>\n\u003cp>But Chance also knows how to share—and lavishly fill—a stage, and for “Zanies and Fools,” the rapper found himself surrounded by a swirl of dancers, not to mention a small army of percussionists and string players. The choreography unfurled around him without really involving him, but he compensated by unleashing a rapid-fire vocal that kept the viewer’s attention center stage.\u003c/p>\n\u003cp>In “Handsome,” Chance’s collaborators crowded into the background, which gave him the opportunity to move around a bit before ceding the spotlight to the most formidable presence imaginable: Megan Thee Stallion. Meg kept her intensity in second gear to match her stage partner—and found a way to give herself a network-television-friendly edit in real time—but her star power was beyond unmistakable. Next season, she’d be well suited to follow in Chance’s footsteps and try her hand as a host.\u003c/p>\n\u003cp>\u003cstrong>2. David Byrne, “Once in a Lifetime” and “Toe Jam”\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> usually makes room for a rock or pop legend here and there, including Paul Simon last year and U2 the year before. This year, the chosen veteran was David Byrne, to coincide with the Broadway staging of his \u003cem>American Utopia\u003c/em> concerts. Crucially, he brought his robust, gray-suited cast to join him in filling the stage with movement, sound and all-around effervescence. Deploying between three and six percussionists at any given moment, these performances radiated good cheer and spiky humor, propelled by a Broadway production’s mandate to thrill.\u003c/p>\n\u003cp>And, really, “thrilling” just about sums it up. Most \u003cem>SNL\u003c/em> guests are promoting new material, so catalog hits aren’t the norm. Here, we got Talking Heads’ unimpeachable classic “Once in a Lifetime” and the terrific “Toe Jam,” which Byrne co-wrote for the U.K. electro-pop band The Brighton Port Authority back in 2008. Byrne happened to appear on perhaps the season’s most widely beloved \u003cem>SNL\u003c/em> episode—the one hosted by the marvelous John Mulaney—but you couldn’t have blamed the show had it just turned the whole thing over to Byrne & Co.\u003c/p>\n\u003cp>\u003cstrong>1. Lizzo, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jK7oze-nu38\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Truth Hurts\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Aj83ri3lSe0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Good As Hell\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Aj83ri3lSe0\u003c/p>\n\u003cp>It took Lizzo years of hustle and grind to rise all the way to pop superstardom, so there was no way she’d make her \u003cem>SNL\u003c/em> debut and not crush it. Marrying lavishly choreographed dance routines to undeniable musicianship and unfettered joy, she and her dancers twerked, spun and frolicked through Lizzo’s two greatest hits to date: “Truth Hurts” (backed by an airtight band, populated exclusively by black women) and “Good As Hell” (performed on a Christmas-themed set in which dancers twirled on poles striped like candy canes).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em>‘s Studio 8H stage can be sterile and unforgiving: It’s a nondescript space with an iffy sound mix, and the crowds are largely there to watch comedy. So it’s a special kind of joy to watch Lizzo douse that canvas with vibrancy, color, movement and good cheer—not to mention transcendent vocal talent—in a set perfectly tailored to elevate the space, the show and the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+Just+Wrapped+Its+45th+Season%3A+It%27s+Time+To+Cruelly+Rank+Its+Musical+Guests&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re roughly two months into a collective crisis that’s kept us sheltered in place, cut off from friends and fearful for the future of our health, our families and our economic well-being. Our emotions frequently form a thick slurry of anxiety, worry, boredom, rage and desperate desire for threads of normalcy; for moments of mundanity; for the calming comfort of the familiar.\u003c/p>\n\u003cp>Which is why, in the interest of national unity—of shared struggle, of resilience, of all-in-this-togetherness, of \u003cem>patriotism\u003c/em>—it is \u003cem>vital\u003c/em> that we reflect on the most recent season of \u003cem>Saturday Night Live\u003c/em> and mean-spiritedly rank the quality of its musical guests. We did this \u003ca href=\"https://www.npr.org/2019/05/20/724884348/snl-musical-guests-ranked-from-no-1-to-greta-van-fleet\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a> (with apologies to Greta Van Fleet) and \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\" target=\"_blank\" rel=\"noopener noreferrer\">the year before\u003c/a> (with apologies to James Bay, whose performance almost definitely happened, though we can’t be 100 percent certain). So now, friends, that tradition continues.\u003c/p>\n\u003cp>A few quick notes about \u003cem>SNL\u003c/em>‘s 45th season, which ended Saturday: Due to COVID-19, what was intended to be a 21-episode season was shortened to 18 shows, only 15 of which took place before a live audience. The last three, nicknamed \u003cem>Saturday Night Live at Home\u003c/em>, were cobbled together from performers’ residences—including those of the musical guests. \u003cem>SNL\u003c/em>‘s Studio 8H stage isn’t always kind to musicians, but it’s bound to present advantages over a setting that provides no audience feedback. We’ll attempt to take that into consideration.\u003c/p>\n\u003cp>Finally, maybe it was the smaller sample size, but no one in this year’s lineup toppled headlong into a grisly train wreck the way certain acts (\u003cem>cough\u003c/em> Kanye West \u003cem>cough\u003c/em> DJ Khaled \u003cem>cough\u003c/em> Greta Van Fleet) did last season. So last place in Season 45 should be read as more “meh” than… you know, traumatic.\u003c/p>\n\u003cp>All right, let’s do this! \u003cem>(Oh, and we’ve linked to every performance that’s still officially available on YouTube.)\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>18. The Weeknd, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=17GxpgE-Fwo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Blinding Lights\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=6Nm9RZqBaBM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Scared to Live\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6Nm9RZqBaBM'\n title='//www.youtube.com/embed/6Nm9RZqBaBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Okay, so let’s start with the weirdly busted-up face: As with The Weeknd’s other appearances in support of his new album \u003cem>After Hours\u003c/em>, the singer performed on \u003cem>SNL\u003c/em> wearing makeup designed to make it look as if he’d just broken his nose. (The album chronicles a rough night out on the town, after all.) So, you know: red suit jacket, nice shoes, blood streaming down his cheek.\u003c/p>\n\u003cp>To liven up the actual performances, it’s best to imagine a backstage scenario in which, say, Cecily Strong was like, “Hey, The Weeknd! Your 2016 song ‘I Feel It Coming (feat. Daft Punk),” while catchy, is nakedly derivative of Michael Jackson! [*bomp*]”\u003c/p>\n\u003cp>We certainly wouldn’t wish actual violence upon the singer, nor would anyone accuse Cecily Strong of such impudence. It’s just that a little bit of fiction livens up the fact that this performance of “Scared to Live” was \u003cem>so, so, so boring\u003c/em>. On the album, the song is a moody tone-setter; on the \u003cem>SNL\u003c/em> stage, it was a bathroom break in song form. With the singer standing gamely alongside bright panels of mirrors, “Blinding Lights” put a bit more pep in its step, but The Weeknd still seemed to have expended most of his energy and dynamism in the makeup chair.\u003c/p>\n\u003cp>\u003cstrong>17. Luke Combs, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=B38JvahZxlc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lovin’ on You\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=7A_CIU4mU60\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Beer Never Broke My Heart\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/B38JvahZxlc'\n title='//www.youtube.com/embed/B38JvahZxlc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s unfair to Luke Combs to rank him on a scale that rewards onstage spectacle: The singer is one of the biggest stars in country music, at least in part \u003cem>because\u003c/em> his most muscular, rowdily beer-forward songs are so straight-ahead and lyrically unadorned. It’s not a putdown to say that Combs’ \u003cem>SNL\u003c/em> renditions of “Lovin’ on You” and “Beer Never Broke My Heart” are indistinguishable from performances he and his band would give in a bar. (Not that they’ve played bars in years; Combs was selling out arenas pre-COVID.)\u003c/p>\n\u003cp>The issue here is that the songs themselves just aren’t \u003cem>interesting\u003c/em>. “Lovin’ on You” is one of those here-is-a-list-of-things country songs that could have been written by an app, while “Beer Never Broke My Heart” sounds like… well, it could have been written by an app that makes beer commercials. With his bushy red beard and acrylic baseball cap, Combs is as approachable a superstar as you’ll find. But on \u003cem>SNL\u003c/em>, he stuck to his most boilerplate material, leaving softer stunners like “\u003ca href=\"https://www.youtube.com/watch?v=P7kqqmr2HWI\" target=\"_blank\" rel=\"noopener noreferrer\">Even Though I’m Leaving\u003c/a>” for another day.\u003c/p>\n\u003cp>\u003cstrong>16. Niall Horan, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=eRA-h44Nn98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nice to Meet Ya\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5iboimrLFE8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Put a Little Love on Me\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/5iboimrLFE8'\n title='//www.youtube.com/embed/5iboimrLFE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a truncated \u003cem>SNL\u003c/em> season, fully one-ninth of the headlining musical guests were former members of One Direction: That’d be Harry Styles (see below) and Niall Horan, who put out a fine solo album back in March, just as the world was beginning to crumble around us. Horan previewed that record on \u003cem>SNL\u003c/em> by performing a pair of its singles: the chugging “Nice to Meet Ya” and the tender piano ballad “Put a Little Love on Me.”\u003c/p>\n\u003cp>Each song is sturdy enough—and catnip for Horan’s zillions of fans—but both felt a little drab on the \u003cem>SNL\u003c/em> stage. “Nice to Meet Ya” reverberated gamely with the reincarnated spirit of Rick Astley (who, it must be noted, is not dead), but little else about the performance would be remembered by morning. And while Horan gave “Put a Little Love on Me” his all vocally, the piano-bar arrangement generated scarcely enough energy to warm up a teacup full of skim milk.\u003c/p>\n\u003cp>Also, we got Harry Styles and Niall Horan, but no Zayn Malik? Bring us Zayn, you ghouls! #justiceforzayn #nozaynnopeace\u003c/p>\n\u003cp>\u003cstrong>15. Camila Cabello, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=yWLorxdRxRg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cry for Me\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Syzcvdm1hq4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Easy\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/Syzcvdm1hq4'\n title='//www.youtube.com/embed/Syzcvdm1hq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Camila Cabello has spent years on the pop-star treadmill—first in Fifth Harmony and then as the chart-topping singer of songs like “Havana” and “Señorita”—without establishing a terribly distinct public persona. The Cuban-American’s songs often evoke a sense of place to match their sultriness, but Cabello herself remains somewhat unknowable; no matter how thoughtfully \u003ca href=\"https://www.independent.co.uk/life-style/health-and-families/camila-cabello-anxiety-nervous-singing-public-shawn-mendes-senorita-a9015041.html\" target=\"_blank\" rel=\"noopener noreferrer\">she’s opened up to the public\u003c/a>, her candor rarely seems to seep into the songs she sings.\u003c/p>\n\u003cp>That didn’t change with the skillful-but-bloodless singles she performed in her \u003cem>SNL\u003c/em> debut, although “Cry for Me” at least got a grandly choreographed theatrical staging, complete with Marie Antoinette get-up and dancers twirling around in vintage attire. By comparison, “Easy” felt a bit stilted and pageant-y, as Cabello performed the song while standing in a white silk gown, her feet planted to the floor.\u003c/p>\n\u003cp>\u003cstrong>14. Boyz II Men with Babyface, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pLLXlbaF9cE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>A Song for Mama\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\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/pLLXlbaF9cE'\n title='//www.youtube.com/embed/pLLXlbaF9cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final episode of \u003cem>Saturday Night Live at Home\u003c/em>—and of the show’s 45th season—happened to take place on the eve of Mother’s Day. So the show opted for a brief, good-natured, low-key tribute courtesy of Babyface and Boyz II Men, whose members performed their 1997 chart-topper “A Song for Mama” from the confines of their respective domiciles. (\u003cem>SNL’\u003c/em>s home editions have provided peeks into many performers’ home lives. In this case, we learned that Babyface and Boyz II Men live among many, many framed gold and platinum records.)\u003c/p>\n\u003cp>As for “A Song for Mama,” the moment was sweet—and rendered that much more sentimental via the screening of archival photos of \u003cem>SNL\u003c/em> cast members with their moms. But with each performer appearing remotely, the finished product felt a little… well, remote.\u003c/p>\n\u003cp>That said, now that Mother’s Day is over, may we recommend \u003ca href=\"https://www.youtube.com/watch?v=sasPmpBhR10\" target=\"_blank\" rel=\"noopener noreferrer\">a far livelier COVID performance\u003c/a> by Boyz II Men, in which the singing sensations appear from their homes along with New Kids on the Block, Naughty by Nature, Big Freedia (!!!), Jordin Sparks and an assortment of bonkers cameos? Because it is ridiculous, and it is fun, and it’s a reminder that staying home doesn’t mean you can \u003cem>only\u003c/em> listen to songs about what a low-key bummer it is to stay home.\u003c/p>\n\u003cp>\u003cstrong>13. Justin Bieber, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=b9DBJsXtays\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Yummy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jiJmC_kqXJ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Intentions\u003c/strong>\u003c/a>\u003cstrong> feat. Quavo”\u003c/strong>\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/b9DBJsXtays'\n title='//www.youtube.com/embed/b9DBJsXtays'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The good news: Justin Bieber tore through two new songs from \u003cem>Changes\u003c/em> with considerable energy, backed by starkly lit dancers, attention-grabbing sets and, late in “Intentions,” a welcome appearance by Migos rapper Quavo.\u003c/p>\n\u003cp>The less-good news: Bieber’s vocals were pretty wobbly and… yeah, “Yummy” is \u003cem>at least\u003c/em> as insipid as its title suggests.\u003c/p>\n\u003cp>All of which is to say: This was the latest mixed bag in a career that’s produced some A+ pop bangers, some forgettable trifles, a lavish assortment of embarrassing growing pains and one ugly-ass mustache.\u003c/p>\n\u003cp>\u003cstrong>12. Halsey, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jGYo1bmqn40\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>You Should Be Sad\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RFcIBSgk9dQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Finally // Beautiful Stranger\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/jGYo1bmqn40'\n title='//www.youtube.com/embed/jGYo1bmqn40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Halsey grew up in New Jersey, which places her not terribly far from 30 Rockefeller Plaza. So, while we’re not suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice, we’re also not \u003cem>not\u003c/em> suggesting that Halsey currently lives in a supply closet at 30 Rock so that she can be available to perform on \u003cem>SNL\u003c/em> at a moment’s notice. Halsey is on \u003cem>SNL\u003c/em> a \u003cem>lot\u003c/em>. From the beginning of 2018 through January of this year, the show featured women as headlining musical guests 16 out of a possible 44 times. Halsey has claimed \u003cem>three\u003c/em> of those spots, and that’s not even counting the time the singer popped up during Lil Wayne’s set.\u003c/p>\n\u003cp>The latest iteration of Halsey on \u003cem>SNL\u003c/em> felt oddly low-energy—which is kind of a feat when you consider that 1.) she performed the midtempo “You Should Be Sad” while glued into a Frederick’s of Hollywood castoff; and 2.) she opened her set astride a mechanical bull and later got hoisted aloft by scantily clad dancers. “Finally // Beautiful Stranger” was less eventful (by design) and slower still: a vocal showcase that demonstrated both Halsey’s range and her tendency to embellish her vocals with what can only be described as “simulated AutoTune.”\u003c/p>\n\u003cp>\u003cstrong>11. King Princess, “1950” and “Hit the Back”\u003c/strong>\u003c/p>\n\u003cp>King Princess (a.k.a. Mikaela Straus) has only released an album and an EP, but she’s already working from a toolkit that encompasses and transcends multiple blended genres. For her \u003cem>SNL\u003c/em> debut, the young shapeshifter showed off her affinity for two of them: the slick, wiry, slow-burning, guitar-wielding rock of “1950” and the coyly suggestive, alternately seething and propulsive dance-pop of “Hit the Back.”\u003c/p>\n\u003cp>Taken as a whole, the performance felt more like an introduction than a coronation: King Princess waited to really cut loose until late in “Hit the Back,” when a series of body-rolls gave way to full-blown thrashing. Norm-busting icons generally aren’t made overnight, but she’s well on her way; this relatively contained \u003cem>SNL\u003c/em> stop felt like Step 1 on a long journey.\u003c/p>\n\u003cp>\u003cstrong>10. Chris Martin, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MdzFWMhNPc0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Shelter From The Storm\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\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/MdzFWMhNPc0'\n title='//www.youtube.com/embed/MdzFWMhNPc0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once COVID-19 made it impossible to put together a traditional episode of \u003cem>Saturday Night Live\u003c/em>—and forced the cancellation of a planned show with musical guest Dua Lipa—producers did what they could to assemble an episode cobbled together from material recorded at performers’ homes. Casualties of this arrangement included the live audience, the live laughter, the live applause, the 30 Rock soundstage, much of the interpersonal chemistry, the musical guest’s second song and an unwritten rule that prevents singers from headlining more than one episode in a single season.\u003c/p>\n\u003cp>Chris Martin’s band Coldplay was the musical guest back in November—see below—but he returned in April to perform a cover of Bob Dylan’s situationally appropriate 1975 classic “Shelter From the Storm.” Shot in dusky, grayish black-and-white (presumably to pay tribute to the film \u003ca href=\"https://www.imdb.com/title/tt0061589/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dont Look Back\u003c/em>\u003c/a>), the set-up felt bare-bones in a cable-access sort of way, as Martin wisely skipped embellishments that might have watered down the original. Hardly a Technicolor showstopper, but right for the moment at hand.\u003c/p>\n\u003cp>\u003cstrong>9. Harry Styles, “Lights Up” and “Watermelon Sugar”\u003c/strong>\u003c/p>\n\u003cp>It’s a wonder that Harry Styles found the time to put together grabby stage presentations of “Lights Up” and “Watermelon Sugar,” given his to-do list for the night: The former One Direction star (and current \u003ca href=\"https://www.npr.org/2020/03/13/814424330/2-green-bay-packers-fans-chat-behind-the-tiny-desk-and-one-of-them-is-harry-styl\" target=\"_blank\" rel=\"noopener noreferrer\">Green Bay Packers fan\u003c/a>) was also serving as \u003cem>SNL\u003c/em> \u003cem>host\u003c/em>, acting in a bunch of sketches and, at one point, appearing in a prerecorded video as the human embodiment of Aidy Bryant’s dog. The live songs, performed in the run-up to Styles’ recent album \u003cem>Fine Line\u003c/em>, could’ve easily registered as an afterthought, and they thankfully didn’t.\u003c/p>\n\u003cp>Opening with the more subdued “Lights Up,” Styles appeared with a stately band and a solemn choir. As such, the performance felt a little uneventful—though it should be noted that Styles brought his wardrobe A-game in a way other men seriously ought to emulate. (That sparkly jumpsuit is \u003cem>killer\u003c/em>.) “Watermelon Sugar” brings another great outfit and a nice jolt of fervent energy, as Styles danced and strutted about while surrounded by a crack band that included a four-piece horn section.\u003c/p>\n\u003cp>\u003cstrong>8. Taylor Swift, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=dmipFjOtMA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Lover\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kjD3LoXp-Pw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>False God\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/dmipFjOtMA8'\n title='//www.youtube.com/embed/dmipFjOtMA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was hardly Taylor Swift’s first \u003cem>SNL\u003c/em> rodeo, given that she’s been a host, made a few cameos and served as a headlining musical guest more than once. And Swift has spent countless promotional cycles serving up lavish, uneven, often high-concept performances at awards shows and on late-night TV. So it was actually refreshing to see her so dialed-down and at-ease in these stripped-down performances of highlights from her latest album, \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>That record’s wedding-ready title track got an especially raw treatment on \u003cem>SNL\u003c/em>, as her solo-piano rendition highlighted the song’s conversational emotionalism and a hook so subtle, you hardly notice it burrowing into your brain for eternity. Less emotionally rich but more visually eventful was “False God,” in which Swift glided through the song amid soft, floating coils of light and the prominent saxophone solos of \u003cem>SNL\u003c/em> bandleader (and former Tower of Power player) Lenny Pickett.\u003c/p>\n\u003cp>\u003cstrong>7. Miley Cyrus, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zUYo8xQf4PY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Wish You Were Here\u003c/strong>\u003c/a>\u003cstrong>” (from \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live at Home\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\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/zUYo8xQf4PY'\n title='//www.youtube.com/embed/zUYo8xQf4PY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first week of \u003cem>Saturday Night Live at Home\u003c/em> made a valiant attempt to re-create an episode of the show while juggling technological limitations, a dark national mood and the fact that virtually no one could be in the same room together. The second week ran far more smoothly: Funnier and slicker, it also benefited from the fact that its musical guest, Miley Cyrus, didn’t look as if she was starring in a hostage video.\u003c/p>\n\u003cp>Bathed in red light while sitting aside a fire pit at night, Cyrus belted out Pink Floyd’s 1975 lighter-waver “Wish You Were Here” with the socially distanced accompaniment of guitarist Andrew Watt. (The choice of Watt—a bestselling pop producer, guitarist and songwriter who’s working with Cyrus on her next album—felt notable, in part because Watt \u003ca href=\"https://variety.com/2020/music/news/music-producer-andrew-watt-coronavirus-pneumonia-1203537066/\" target=\"_blank\" rel=\"noopener noreferrer\">has written publicly\u003c/a> about his recent battle with COVID-19.)\u003c/p>\n\u003cp>For a simple set-up recorded under difficult circumstances, Cyrus’ performance did a pretty ingenious job of turning back-porch busking into the stuff of late-night sound stages. It had visual drama: smoke, flames, distinct lighting, moody accompaniment, lavish fashion. But it also served up the umpteenth reminder that Miley Cyrus is a marvelous singer, with vocal—and emotional—range to spare.\u003c/p>\n\u003cp>\u003cstrong>6. Coldplay, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=EUxsb0Zpe8w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Orphans\u003c/strong>\u003c/a>\u003cstrong>” and “Everyday Life”\u003c/strong>\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/EUxsb0Zpe8w'\n title='//www.youtube.com/embed/EUxsb0Zpe8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bash Coldplay all you want, but this performance of “Orphans” showed exactly how to liven up a typical spot as a late-night musical guest: Chris Martin opened the song from a supply closet in the back of the room before making his way into the audience to perform with clusters of cast members, musicians and randos. He eventually ran to the stage, at which point he finished the song while backed by members of his band, a colorful animated video on a giant screen and an enormous throng of dancers. It was an immensely buoyant, memorable performance.\u003c/p>\n\u003cp>By comparison, “Everyday Life” couldn’t help but fizzle earnestly, though the song’s melancholy notes of tentatively uplifting empathy resonate more now than they did all the way back in November 2019. But let’s not neglect the \u003cem>real\u003c/em> takeaway here: Sure, Chris Martin’s distressed tee probably cost $1,400 or something, but he looked like he just got done insulating his attic. Could you imagine Halsey getting to perform in that grubby rag? We will never achieve gender equality until male performers dress better (see: Harry Styles) or female performers dress worse—preferably both.\u003c/p>\n\u003cp>\u003cstrong>5. DaBaby, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=YffEyeWn_fA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bop\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pbGLwe53-LI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Suge\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/YffEyeWn_fA'\n title='//www.youtube.com/embed/YffEyeWn_fA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>DaBaby understands that you can perform a couple of songs on TV, or you can put on a show of your own. Backed by a few musicians, a giant throng of dancers and a woman who periodically twerked from a full handstand, DaBaby served as both rapper and ringmaster. Unafraid to dive into the choreography, he felt fully integrated into the mayhem—which featured not only the hip-hop dance crew Jabbawockeez, but also a whole bunch of stage fighting. (Why stage fighting? Hey, why did the other 17 entries on this list \u003cem>not\u003c/em> include stage fighting? Lookin’ your way, Niall Horan.)\u003c/p>\n\u003cp>Of course, all that ludicrous theatrical chaos wouldn’t have mattered much without tight, hooky songs to back it up, and DaBaby came to work there, too. Performing with a showman’s charisma, the young star seemed to be having a blast. That can be more than half the battle, right there.\u003c/p>\n\u003cp>\u003cstrong>4. Billie Eilish, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Jn1Uwsg3eRQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>bad guy\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=m6AdQLB_19g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>I Love You\u003c/strong>\u003c/a>\u003cstrong> (feat. Finneas O’Connell)”\u003c/strong>\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/Jn1Uwsg3eRQ'\n title='//www.youtube.com/embed/Jn1Uwsg3eRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Billie Eilish was basically bulletproof in 2019: Her debut album spawned a string of huge hits, and “bad guy” was the only juggernaut omnipresent enough to knock “Old Town Road” off its perch at the top of the pop charts. She kicked off 2020 by sweeping every major category at the Grammys—the youngest artist ever to do so. And, along the path to domination, she provided one of the biggest “wow” moments in recent \u003cem>SNL\u003c/em> history.\u003c/p>\n\u003cp>With a concept liberally borrowed from the 1951 film \u003cem>Royal Wedding\u003c/em>—the one in which Fred Astaire climbs the walls before dancing on the ceiling—Eilish’s pajama- and walking-boot-clad \u003cem>SNL\u003c/em> performance of “bad guy” duplicated the gravity-defying effect to perfection, thanks to a boxy miniaturized set (and a camera) that rotated like a hamster wheel. Before viewers could finish Googling “How did Billie Eilish do that \u003cem>SNL\u003c/em>,” the show panned out to reveal the trick, which somehow made the whole thing seem even more impressive.\u003c/p>\n\u003cp>After so much razzle-dazzle, Eilish hardly needed to return for a second song. But she took a decent-sized swing anyway, showcasing her balladeering softer side—still a new look for her back in September—in a whispery take on “I Love You.” Joined on guitar by her similarly Grammy-festooned brother Finneas O’Connell, Eilish more than held her own. But it was somewhat drowsy as a set-closer, especially after the sugar high she’d just pulled off.\u003c/p>\n\u003cp>\u003cstrong>3. Chance The Rapper, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=SnlUnGj54hM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Zanies and Fools\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=RwX2IpcmN_w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Handsome\u003c/strong>\u003c/a>\u003cstrong> (feat. Megan Thee Stallion)”\u003c/strong>\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/RwX2IpcmN_w'\n title='//www.youtube.com/embed/RwX2IpcmN_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was Chance the Rapper’s second stint as a musical guest, his second stint as an enormously funny and good-natured \u003cem>SNL\u003c/em> host, and his first time pulling double duty. Hell, he even introduced himself at the top of “Zanies and Fools,” letting a clip of his adorable daughter fill the time between his introduction (“Ladies and gentlemen, Chance the Rapper”) and the performance itself. The guy does it all, and does it extraordinarily well.\u003c/p>\n\u003cp>But Chance also knows how to share—and lavishly fill—a stage, and for “Zanies and Fools,” the rapper found himself surrounded by a swirl of dancers, not to mention a small army of percussionists and string players. The choreography unfurled around him without really involving him, but he compensated by unleashing a rapid-fire vocal that kept the viewer’s attention center stage.\u003c/p>\n\u003cp>In “Handsome,” Chance’s collaborators crowded into the background, which gave him the opportunity to move around a bit before ceding the spotlight to the most formidable presence imaginable: Megan Thee Stallion. Meg kept her intensity in second gear to match her stage partner—and found a way to give herself a network-television-friendly edit in real time—but her star power was beyond unmistakable. Next season, she’d be well suited to follow in Chance’s footsteps and try her hand as a host.\u003c/p>\n\u003cp>\u003cstrong>2. David Byrne, “Once in a Lifetime” and “Toe Jam”\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> usually makes room for a rock or pop legend here and there, including Paul Simon last year and U2 the year before. This year, the chosen veteran was David Byrne, to coincide with the Broadway staging of his \u003cem>American Utopia\u003c/em> concerts. Crucially, he brought his robust, gray-suited cast to join him in filling the stage with movement, sound and all-around effervescence. Deploying between three and six percussionists at any given moment, these performances radiated good cheer and spiky humor, propelled by a Broadway production’s mandate to thrill.\u003c/p>\n\u003cp>And, really, “thrilling” just about sums it up. Most \u003cem>SNL\u003c/em> guests are promoting new material, so catalog hits aren’t the norm. Here, we got Talking Heads’ unimpeachable classic “Once in a Lifetime” and the terrific “Toe Jam,” which Byrne co-wrote for the U.K. electro-pop band The Brighton Port Authority back in 2008. Byrne happened to appear on perhaps the season’s most widely beloved \u003cem>SNL\u003c/em> episode—the one hosted by the marvelous John Mulaney—but you couldn’t have blamed the show had it just turned the whole thing over to Byrne & Co.\u003c/p>\n\u003cp>\u003cstrong>1. Lizzo, “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jK7oze-nu38\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Truth Hurts\u003c/strong>\u003c/a>\u003cstrong>” and “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=Aj83ri3lSe0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Good As Hell\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/Aj83ri3lSe0'\n title='//www.youtube.com/embed/Aj83ri3lSe0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It took Lizzo years of hustle and grind to rise all the way to pop superstardom, so there was no way she’d make her \u003cem>SNL\u003c/em> debut and not crush it. Marrying lavishly choreographed dance routines to undeniable musicianship and unfettered joy, she and her dancers twerked, spun and frolicked through Lizzo’s two greatest hits to date: “Truth Hurts” (backed by an airtight band, populated exclusively by black women) and “Good As Hell” (performed on a Christmas-themed set in which dancers twirled on poles striped like candy canes).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em>‘s Studio 8H stage can be sterile and unforgiving: It’s a nondescript space with an iffy sound mix, and the crowds are largely there to watch comedy. So it’s a special kind of joy to watch Lizzo douse that canvas with vibrancy, color, movement and good cheer—not to mention transcendent vocal talent—in a set perfectly tailored to elevate the space, the show and the season.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+Just+Wrapped+Its+45th+Season%3A+It%27s+Time+To+Cruelly+Rank+Its+Musical+Guests&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For Mother's Day, the Songs of Our Moms",
"headTitle": "For Mother’s Day, the Songs of Our Moms | KQED",
"content": "\u003cp>Mothers contain multitudes. They can be smart, motivating, nurturing, hard-working, funny, strong, diplomatic, hopeful—dozens of qualities all at once.\u003c/p>\n\u003cp>So it’s no surprise that when asked which song reminds them of their mom, my KQED coworkers offered responses that were all over the map. This Mother’s Day, take a moment to recognize just how important the moms in your own life are—and enjoy this collection of songs that we’ll always associate with our own moms. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iWUgPIQNgGo\u003c/p>\n\u003ch2>‘Coyote’\u003c/h2>\n\u003cp>When I was little, my mom introduced me to many albums that I immediately loved, like \u003cem>Ziggy Stardust, London Calling\u003c/em> and the \u003cem>Decline of Western Civilization\u003c/em> soundtrack. But it wasn’t until years later that her fondness for Joni Mitchell took hold. Now “Coyote,” the enchanting \u003cem>Hejira\u003c/em> opener, reminds me of the ways I’m happily becoming more like her.\u003cem>—\u003cstrong>Sam Lefebvre\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eztSYUFUe8I\u003c/p>\n\u003ch2>‘Les Amoureux des Bancs Publics’\u003c/h2>\n\u003cp>My mum, Yvonne, is French. She loves the male singer-songwriters of her formative years growing up in the 1950s and 1960s in Paris—artists like Jacques Brel, Charles Trenet, and Charles Aznavour. Her very favorite is Georges Brassens, France’s answer to Bob Dylan, known as much for his poetry as for his music. When I was growing up in the UK, my mum used to sing Brassens’ songs around the house. One of the songs she likes the most is “Les Amoureux des Bancs Publics,” about the reactions of self-righteous conservatives to seeing a pair of passionate young lovers having a smooch on a bench in a public park.\u003cem>—\u003cstrong>Chloe Veltman\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=thIVtEOtlWM\u003c/p>\n\u003ch2>‘Party Up’\u003c/h2>\n\u003cp>My mom uses music as a teaching tool. There were certain artists she made sure I knew about: Prince, Stevie, Earth, Wind & Fire and of course Teena Marie. And when I’d play some new hip-hop song, she’d be like, “Oh, that song samples [random artist from the 70s],” and then I’d go look them up. \u003c/p>\n\u003cp>But I shared music with her, too. One of my favorites was when I introduced her to the DMX song, “Party Up.” The hook goes: “Y’all gon’ make me lose my mind / Up in here, up in here / Y’all gon’ make me go all out / Up in here, up in here / Y’all gon’ make me act a fool / Up in here, up in here / Y’all gon’ make me lose my cool / Up in here, up in here.”\u003c/p>\n\u003cp>As soon as she heard it, she said: “Oh, that sounds like somebody’s momma.”\u003cem>—\u003cstrong>Pendarvis Harshaw\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6e01nNA02vw\u003c/p>\n\u003ch2>‘Good Day Sunshine’\u003c/h2>\n\u003cp>There are literally 100 songs I would associate with my musician of a mom—some of which she wrote herself, like the Anthem of Whiny Kids that begins with the lyrics, “I’m hungry, I’m thirsty, I need to go to the bathroom / I’m tired, please hold me / Drop everything right now, cha cha cha.”\u003cbr>\n \u003cbr>\nBut the song that pops to mind is “Good Day Sunshine” by the Beatles. My mom is a morning person (if you can say that about a human who naturally wakes up at 4:30am), and when I was a teenager she would blast this tune in the morning for her grumpy daughters. It always makes me happy, and reminds me of my larger-than-life mama, who loves music, loves to sing, and has always brought so much sunshine into our lives.\u003cem>—\u003cstrong>Marisa Lagos\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZQlM59sDJVo\u003c/p>\n\u003ch2>‘We’re a Happy Family’\u003c/h2>\n\u003cp>The song that will always remind me of my mom is the Ramones’ “We’re a Happy Family.” For starters, I’ve always been supremely jealous that my parents saw the Ramones play at CBGB when they were cool young kids living in Boston. Secondly, the lyrics about a nontraditional family really ring true for us, especially since my dad came out: “We’re a happy family / Me mom and daddy… / No Christmas cards to send / Daddy likes men.”\u003c/p>\n\u003cp>Luckily, we’re a lot more functional than the family in the song, but it is true we don’t send Christmas cards, and daddy does like men. Whenever we’re having silly arguments on a family Facetime call, my mom usually interjects to sing the chorus.\u003cem>—\u003cstrong>Bianca Taylor\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEO6v-YiS00\u003c/p>\n\u003ch2>‘Rockin’ All Over the World’\u003c/h2>\n\u003cp>My mother’s musical preferences tend toward Carly Simon and the Mamas & the Papas. But for a weird period during the 1980s, she was obsessed with Status Quo. The London band is most famous in the United States for 1968’s psychedelic “Pictures of Matchstick Men,” but by the mid-’80s, in the UK, they were chart staples thanks to a series of three-chord singalongs. “Rockin’ All Over the World” was one of the most famous. My mother has not listened to rock music before or since Status Quo, but I remember her going to see them during my childhood and coming home aghast at the ringing in her ears and amused at how rowdy the crowd was. She went on to be a big supporter of my music journalism career—but nagged me endlessly about wearing earplugs, based on her three Status Quo concerts. My sporadic battles with tinnitus are regular reminders that I should’ve listened to her.\u003cem>—\u003cstrong>Rae Alexandra\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/1fr1iyhkyVs\u003c/p>\n\u003ch2>‘Girl, You’ll Be a Woman Soon’\u003c/h2>\n\u003cp>In the late 1990s, we arrived to the Bay Area from Russia for my mom to pursue her American dream of a career in computer science. She’s never been much of a musical person, so when she’d get into an album, we’d listen to it on repeat any time we were in the car. The one seared into my memory from those chaotic years is the \u003cem>Pulp Fiction\u003c/em> soundtrack. It’s a wild ride that swings from Kool & the Gang to Al Green to Dusty Springfield, and I can’t help but remember my mom whenever I hear the guitar thrum of “Girl, You’ll Be a Woman Soon.” It reminds me of the hustle and sacrifice she modeled as a young mom on her own in a new country.\u003cem>—\u003cstrong>Nastia Voynovskaya\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MWCUh6tf7PA\u003c/p>\n\u003ch2>‘She’s Got You’\u003c/h2>\n\u003cp>Patsy Cline’s “She’s Got You” and “Your Cheatin’ Heart” are the two songs that remind me of my mom. She used to play them, along with and weirdly sad Bengali songs, in the kitchen growing up all the time. The best moments were when you’d catch her singing along when she thought no one was listening or paying attention.\u003cem>—\u003cstrong>Urmila Ramakrishnan\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Eqxc8l1XjQ\u003c/p>\n\u003ch2>‘It’s Gonna Work Out Fine’\u003c/h2>\n\u003cp>According to my unscientific analysis, moms have approximately 128 nicknames for each of their kids. My mom was no exception, with an arsenal of names seemingly custom-designed for maximum embarrassment when shouted loudly in public. (You don’t know real teenage humiliation until your mom beckons you across the junior high parking lot with “YOO-HOO! BUSTER BROWN!”) Somehow, “Dapper Dan” was in the mix of my mom’s nicknames for me, and I have the song “It’s Gonna Work Out Fine” to thank and/or blame. An Ike and Tina Turner hit covered by the ultimate mom-rock pairing of Linda Ronstadt and James Taylor, it contains the line: “Do you remember / I used to call you Dapper Dan?” I sure do, mom.\u003cem>—\u003cstrong>Gabe Meline\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mothers contain multitudes. They can be smart, motivating, nurturing, hard-working, funny, strong, diplomatic, hopeful—dozens of qualities all at once.\u003c/p>\n\u003cp>So it’s no surprise that when asked which song reminds them of their mom, my KQED coworkers offered responses that were all over the map. This Mother’s Day, take a moment to recognize just how important the moms in your own life are—and enjoy this collection of songs that we’ll always associate with our own moms. \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/iWUgPIQNgGo'\n title='//www.youtube.com/embed/iWUgPIQNgGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Coyote’\u003c/h2>\n\u003cp>When I was little, my mom introduced me to many albums that I immediately loved, like \u003cem>Ziggy Stardust, London Calling\u003c/em> and the \u003cem>Decline of Western Civilization\u003c/em> soundtrack. But it wasn’t until years later that her fondness for Joni Mitchell took hold. Now “Coyote,” the enchanting \u003cem>Hejira\u003c/em> opener, reminds me of the ways I’m happily becoming more like her.\u003cem>—\u003cstrong>Sam Lefebvre\u003c/strong>\u003c/em>\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/eztSYUFUe8I'\n title='//www.youtube.com/embed/eztSYUFUe8I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Les Amoureux des Bancs Publics’\u003c/h2>\n\u003cp>My mum, Yvonne, is French. She loves the male singer-songwriters of her formative years growing up in the 1950s and 1960s in Paris—artists like Jacques Brel, Charles Trenet, and Charles Aznavour. Her very favorite is Georges Brassens, France’s answer to Bob Dylan, known as much for his poetry as for his music. When I was growing up in the UK, my mum used to sing Brassens’ songs around the house. One of the songs she likes the most is “Les Amoureux des Bancs Publics,” about the reactions of self-righteous conservatives to seeing a pair of passionate young lovers having a smooch on a bench in a public park.\u003cem>—\u003cstrong>Chloe Veltman\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/thIVtEOtlWM'\n title='//www.youtube.com/embed/thIVtEOtlWM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Party Up’\u003c/h2>\n\u003cp>My mom uses music as a teaching tool. There were certain artists she made sure I knew about: Prince, Stevie, Earth, Wind & Fire and of course Teena Marie. And when I’d play some new hip-hop song, she’d be like, “Oh, that song samples [random artist from the 70s],” and then I’d go look them up. \u003c/p>\n\u003cp>But I shared music with her, too. One of my favorites was when I introduced her to the DMX song, “Party Up.” The hook goes: “Y’all gon’ make me lose my mind / Up in here, up in here / Y’all gon’ make me go all out / Up in here, up in here / Y’all gon’ make me act a fool / Up in here, up in here / Y’all gon’ make me lose my cool / Up in here, up in here.”\u003c/p>\n\u003cp>As soon as she heard it, she said: “Oh, that sounds like somebody’s momma.”\u003cem>—\u003cstrong>Pendarvis Harshaw\u003c/strong>\u003c/em>\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/6e01nNA02vw'\n title='//www.youtube.com/embed/6e01nNA02vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Good Day Sunshine’\u003c/h2>\n\u003cp>There are literally 100 songs I would associate with my musician of a mom—some of which she wrote herself, like the Anthem of Whiny Kids that begins with the lyrics, “I’m hungry, I’m thirsty, I need to go to the bathroom / I’m tired, please hold me / Drop everything right now, cha cha cha.”\u003cbr>\n \u003cbr>\nBut the song that pops to mind is “Good Day Sunshine” by the Beatles. My mom is a morning person (if you can say that about a human who naturally wakes up at 4:30am), and when I was a teenager she would blast this tune in the morning for her grumpy daughters. It always makes me happy, and reminds me of my larger-than-life mama, who loves music, loves to sing, and has always brought so much sunshine into our lives.\u003cem>—\u003cstrong>Marisa Lagos\u003c/strong>\u003c/em>\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/ZQlM59sDJVo'\n title='//www.youtube.com/embed/ZQlM59sDJVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘We’re a Happy Family’\u003c/h2>\n\u003cp>The song that will always remind me of my mom is the Ramones’ “We’re a Happy Family.” For starters, I’ve always been supremely jealous that my parents saw the Ramones play at CBGB when they were cool young kids living in Boston. Secondly, the lyrics about a nontraditional family really ring true for us, especially since my dad came out: “We’re a happy family / Me mom and daddy… / No Christmas cards to send / Daddy likes men.”\u003c/p>\n\u003cp>Luckily, we’re a lot more functional than the family in the song, but it is true we don’t send Christmas cards, and daddy does like men. Whenever we’re having silly arguments on a family Facetime call, my mom usually interjects to sing the chorus.\u003cem>—\u003cstrong>Bianca Taylor\u003c/strong>\u003c/em>\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/eEO6v-YiS00'\n title='//www.youtube.com/embed/eEO6v-YiS00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Rockin’ All Over the World’\u003c/h2>\n\u003cp>My mother’s musical preferences tend toward Carly Simon and the Mamas & the Papas. But for a weird period during the 1980s, she was obsessed with Status Quo. The London band is most famous in the United States for 1968’s psychedelic “Pictures of Matchstick Men,” but by the mid-’80s, in the UK, they were chart staples thanks to a series of three-chord singalongs. “Rockin’ All Over the World” was one of the most famous. My mother has not listened to rock music before or since Status Quo, but I remember her going to see them during my childhood and coming home aghast at the ringing in her ears and amused at how rowdy the crowd was. She went on to be a big supporter of my music journalism career—but nagged me endlessly about wearing earplugs, based on her three Status Quo concerts. My sporadic battles with tinnitus are regular reminders that I should’ve listened to her.\u003cem>—\u003cstrong>Rae Alexandra\u003c/strong>\u003c/em>\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/1fr1iyhkyVs'\n title='//www.youtube.com/embed/1fr1iyhkyVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Girl, You’ll Be a Woman Soon’\u003c/h2>\n\u003cp>In the late 1990s, we arrived to the Bay Area from Russia for my mom to pursue her American dream of a career in computer science. She’s never been much of a musical person, so when she’d get into an album, we’d listen to it on repeat any time we were in the car. The one seared into my memory from those chaotic years is the \u003cem>Pulp Fiction\u003c/em> soundtrack. It’s a wild ride that swings from Kool & the Gang to Al Green to Dusty Springfield, and I can’t help but remember my mom whenever I hear the guitar thrum of “Girl, You’ll Be a Woman Soon.” It reminds me of the hustle and sacrifice she modeled as a young mom on her own in a new country.\u003cem>—\u003cstrong>Nastia Voynovskaya\u003c/strong>\u003c/em>\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/MWCUh6tf7PA'\n title='//www.youtube.com/embed/MWCUh6tf7PA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘She’s Got You’\u003c/h2>\n\u003cp>Patsy Cline’s “She’s Got You” and “Your Cheatin’ Heart” are the two songs that remind me of my mom. She used to play them, along with and weirdly sad Bengali songs, in the kitchen growing up all the time. The best moments were when you’d catch her singing along when she thought no one was listening or paying attention.\u003cem>—\u003cstrong>Urmila Ramakrishnan\u003c/strong>\u003c/em>\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/1Eqxc8l1XjQ'\n title='//www.youtube.com/embed/1Eqxc8l1XjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘It’s Gonna Work Out Fine’\u003c/h2>\n\u003cp>According to my unscientific analysis, moms have approximately 128 nicknames for each of their kids. My mom was no exception, with an arsenal of names seemingly custom-designed for maximum embarrassment when shouted loudly in public. (You don’t know real teenage humiliation until your mom beckons you across the junior high parking lot with “YOO-HOO! BUSTER BROWN!”) Somehow, “Dapper Dan” was in the mix of my mom’s nicknames for me, and I have the song “It’s Gonna Work Out Fine” to thank and/or blame. An Ike and Tina Turner hit covered by the ultimate mom-rock pairing of Linda Ronstadt and James Taylor, it contains the line: “Do you remember / I used to call you Dapper Dan?” I sure do, mom.\u003cem>—\u003cstrong>Gabe Meline\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Little Richard, 'Architect of Rock ‘n’ Roll,' Dies at 87",
"headTitle": "Little Richard, ‘Architect of Rock ‘n’ Roll,’ Dies at 87 | KQED",
"content": "\u003cp>Little Richard, the self-proclaimed “architect of rock ‘n’ roll” whose piercing wail, pounding piano and towering pompadour irrevocably altered popular music while introducing black R&B to white America, died Saturday. He was 87.\u003c/p>\n\u003cp>Pastor Bill Minson, a close friend of Little Richard’s, told The Associated Press that Little Richard died Saturday morning. Minson said he also spoke to Little Richard’s son and brother.\u003c/p>\n\u003cp>Minson added that the family is not releasing the cause of death.\u003c/p>\n\u003cp>Born Richard Penniman, Little Richard was one of rock ‘n’ roll’s founding fathers who helped shatter the color line on the music charts, joining Chuck Berry and Fats Domino in bringing what was once called “race music” into the mainstream. Richard’s hyperkinetic piano playing, coupled with his howling vocals and hairdo, made him an implausible sensation — a gay, black man celebrated across America during the buttoned-down Eisenhower era.\u003c/p>\n\u003cp>He sold more than 30 million records worldwide, and his influence on other musicians was equally staggering, from the Beatles and Otis Redding to Creedence Clearwater Revival and David Bowie. In his personal life, he wavered between raunch and religion, alternately embracing the Good Book and outrageous behavior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Little Richard? That’s rock ‘n’ roll,” Neil Young, who heard Richard’s riffs on the radio in Canada, told biographer Jimmy McDonough. “Little Richard was great on every record.”\u003c/p>\n\u003cp>It was 1956 when his classic “Tutti Frutti” landed like a hand grenade in the Top 40, exploding from radios and off turntables across the country. It was highlighted by Richard’s memorable call of “wop-bop-a-loo-bop-a-lop-bam-boom.”\u003c/p>\n\u003cp>A string of hits followed, providing the foundation of rock music: “Lucille,” “Keep A Knockin’,” “Long Tall Sally,” “Good Golly Miss Molly.” More than 40 years after the latter charted, Bruce Springsteen was still performing “Good Golly Miss Molly” live.\u003c/p>\n\u003cp>The Beatles’ Paul McCartney imitated Richard’s signature yelps — perhaps most notably in the “Wooooo!” from the hit “She Loves You.” Ex-bandmate John Lennon covered Richard’s “Rip It Up” and “Ready Teddy” on the 1975 “Rock and Roll” album.\u003c/p>\n\u003cp>When the Rock and Roll Hall of Fame opened in 1986, he was among the charter members with Elvis Presley, Berry, Buddy Holly, Jerry Lee Lewis, Sam Cooke and others.\u003c/p>\n\u003cp>Few were quicker to acknowledge Little Richard’s seminal role than Richard himself. The flamboyant singer claimed he paved the way for Elvis, provided Mick Jagger with his stage moves and conducted vocal lessons for McCartney.\u003c/p>\n\u003cp>“I am the architect of rock ‘n’ roll!” Little Richard crowed at the 1988 Grammy Awards as the crowd rose in a standing ovation. “I am the originator!”\u003c/p>\n\u003cp>Richard Wayne Penniman was born in Macon, Georgia, during the Great Depression, one of 12 children. He was ostracized because he was effeminate and suffered a small deformity: his right leg was shorter than his left.\u003c/p>\n\u003cp>The family was religious, and Richard sang in local churches with a group called the Tiny Tots. The tug-of-war between his upbringing and rock ‘n’ roll excess tormented Penniman throughout his career.\u003c/p>\n\u003cp>Penniman was performing with bands by the age of 14, but there were problems at home over his sexual orientation. His father beat the boy and derided him as “half a son.”\u003c/p>\n\u003cp>Richard left home to join a minstrel show run by a man known as Sugarloaf Sam, occasionally appearing in drag.\u003c/p>\n\u003cp>In late 1955, Little Richard recorded the bawdy “Tutti Frutti,” with lyrics that were sanitized by a New Orleans songwriter. It went on to sell 1 million records over the next year.\u003c/p>\n\u003cp>When Little Richard’s hit was banned by many white-owned radio stations, white performers like Pat Boone and Elvis Presley did cover versions that topped the charts.\u003c/p>\n\u003cp>Little Richard went Hollywood with an appearance in “Don’t Knock the Rock.” But his wild lifestyle remained at odds with his faith, and a conflicted Richard quit the business in 1957 to enroll in a theological school and get married.\u003c/p>\n\u003cp>Richard remained on the charts when his label released previously recorded material. And he recorded a gospel record, returning to his roots.\u003c/p>\n\u003cp>A 1962 arrest for a homosexual encounter in a bus station restroom led to his divorce and return to performing.\u003c/p>\n\u003cp>He mounted three tours of England between 1962 and 1964, with the Beatles and the Rolling Stones serving as opening acts. Back in the States, he put together a band that included guitarist Jimi Hendrix — and later fired Hendrix when he was late for a bus.\u003c/p>\n\u003cp>In 1968, Richard hit Las Vegas and relaunched his career. Within two years, he had another hit single and made the cover of Rolling Stone.\u003c/p>\n\u003cp>By the mid-1970s, Richard was battling a $1,000-a-day cocaine problem and once again abandoned his musical career. He returned to religion, selling Bibles and renouncing homosexuality. For more than a decade, he vanished.\u003c/p>\n\u003cp>“If God can save an old homosexual like me, he can save anybody,” Richard said.\u003c/p>\n\u003cp>But he returned, in 1986, in spectacular fashion. Little Richard was inducted into the Rock and Roll Hall of Fame, and appeared in the movie “Down and Out in Beverly Hills.”\u003c/p>\n\u003cp>A Little Richard song from the soundtrack, “Great Gosh A’Mighty,” even put him back on the charts for the first time in more than 15 years. Little Richard was back to stay, enjoying another dose of celebrity that he fully embraced.\u003c/p>\n\u003cp>Macon, Georgia, named a street after its favorite son. And Little Richard was given a star on the Hollywood Walk of Fame. In August 2002, he announced his retirement from live performing. But he continued to appear frequently on television, including a humorous appearance on a 2006 commercial for GEICO insurance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard had hip surgery in November 2009 at Vanderbilt University Medical Center in Nashville, and asked fans at the time to pray for him. He lived in the Nashville area at the time.\u003c/p>\n\n",
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"excerpt": "The flamboyant singer, whose piercing wail and pounding piano irrevocably altered popular music, has died.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Little Richard, the self-proclaimed “architect of rock ‘n’ roll” whose piercing wail, pounding piano and towering pompadour irrevocably altered popular music while introducing black R&B to white America, died Saturday. He was 87.\u003c/p>\n\u003cp>Pastor Bill Minson, a close friend of Little Richard’s, told The Associated Press that Little Richard died Saturday morning. Minson said he also spoke to Little Richard’s son and brother.\u003c/p>\n\u003cp>Minson added that the family is not releasing the cause of death.\u003c/p>\n\u003cp>Born Richard Penniman, Little Richard was one of rock ‘n’ roll’s founding fathers who helped shatter the color line on the music charts, joining Chuck Berry and Fats Domino in bringing what was once called “race music” into the mainstream. Richard’s hyperkinetic piano playing, coupled with his howling vocals and hairdo, made him an implausible sensation — a gay, black man celebrated across America during the buttoned-down Eisenhower era.\u003c/p>\n\u003cp>He sold more than 30 million records worldwide, and his influence on other musicians was equally staggering, from the Beatles and Otis Redding to Creedence Clearwater Revival and David Bowie. In his personal life, he wavered between raunch and religion, alternately embracing the Good Book and outrageous behavior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Little Richard? That’s rock ‘n’ roll,” Neil Young, who heard Richard’s riffs on the radio in Canada, told biographer Jimmy McDonough. “Little Richard was great on every record.”\u003c/p>\n\u003cp>It was 1956 when his classic “Tutti Frutti” landed like a hand grenade in the Top 40, exploding from radios and off turntables across the country. It was highlighted by Richard’s memorable call of “wop-bop-a-loo-bop-a-lop-bam-boom.”\u003c/p>\n\u003cp>A string of hits followed, providing the foundation of rock music: “Lucille,” “Keep A Knockin’,” “Long Tall Sally,” “Good Golly Miss Molly.” More than 40 years after the latter charted, Bruce Springsteen was still performing “Good Golly Miss Molly” live.\u003c/p>\n\u003cp>The Beatles’ Paul McCartney imitated Richard’s signature yelps — perhaps most notably in the “Wooooo!” from the hit “She Loves You.” Ex-bandmate John Lennon covered Richard’s “Rip It Up” and “Ready Teddy” on the 1975 “Rock and Roll” album.\u003c/p>\n\u003cp>When the Rock and Roll Hall of Fame opened in 1986, he was among the charter members with Elvis Presley, Berry, Buddy Holly, Jerry Lee Lewis, Sam Cooke and others.\u003c/p>\n\u003cp>Few were quicker to acknowledge Little Richard’s seminal role than Richard himself. The flamboyant singer claimed he paved the way for Elvis, provided Mick Jagger with his stage moves and conducted vocal lessons for McCartney.\u003c/p>\n\u003cp>“I am the architect of rock ‘n’ roll!” Little Richard crowed at the 1988 Grammy Awards as the crowd rose in a standing ovation. “I am the originator!”\u003c/p>\n\u003cp>Richard Wayne Penniman was born in Macon, Georgia, during the Great Depression, one of 12 children. He was ostracized because he was effeminate and suffered a small deformity: his right leg was shorter than his left.\u003c/p>\n\u003cp>The family was religious, and Richard sang in local churches with a group called the Tiny Tots. The tug-of-war between his upbringing and rock ‘n’ roll excess tormented Penniman throughout his career.\u003c/p>\n\u003cp>Penniman was performing with bands by the age of 14, but there were problems at home over his sexual orientation. His father beat the boy and derided him as “half a son.”\u003c/p>\n\u003cp>Richard left home to join a minstrel show run by a man known as Sugarloaf Sam, occasionally appearing in drag.\u003c/p>\n\u003cp>In late 1955, Little Richard recorded the bawdy “Tutti Frutti,” with lyrics that were sanitized by a New Orleans songwriter. It went on to sell 1 million records over the next year.\u003c/p>\n\u003cp>When Little Richard’s hit was banned by many white-owned radio stations, white performers like Pat Boone and Elvis Presley did cover versions that topped the charts.\u003c/p>\n\u003cp>Little Richard went Hollywood with an appearance in “Don’t Knock the Rock.” But his wild lifestyle remained at odds with his faith, and a conflicted Richard quit the business in 1957 to enroll in a theological school and get married.\u003c/p>\n\u003cp>Richard remained on the charts when his label released previously recorded material. And he recorded a gospel record, returning to his roots.\u003c/p>\n\u003cp>A 1962 arrest for a homosexual encounter in a bus station restroom led to his divorce and return to performing.\u003c/p>\n\u003cp>He mounted three tours of England between 1962 and 1964, with the Beatles and the Rolling Stones serving as opening acts. Back in the States, he put together a band that included guitarist Jimi Hendrix — and later fired Hendrix when he was late for a bus.\u003c/p>\n\u003cp>In 1968, Richard hit Las Vegas and relaunched his career. Within two years, he had another hit single and made the cover of Rolling Stone.\u003c/p>\n\u003cp>By the mid-1970s, Richard was battling a $1,000-a-day cocaine problem and once again abandoned his musical career. He returned to religion, selling Bibles and renouncing homosexuality. For more than a decade, he vanished.\u003c/p>\n\u003cp>“If God can save an old homosexual like me, he can save anybody,” Richard said.\u003c/p>\n\u003cp>But he returned, in 1986, in spectacular fashion. Little Richard was inducted into the Rock and Roll Hall of Fame, and appeared in the movie “Down and Out in Beverly Hills.”\u003c/p>\n\u003cp>A Little Richard song from the soundtrack, “Great Gosh A’Mighty,” even put him back on the charts for the first time in more than 15 years. Little Richard was back to stay, enjoying another dose of celebrity that he fully embraced.\u003c/p>\n\u003cp>Macon, Georgia, named a street after its favorite son. And Little Richard was given a star on the Hollywood Walk of Fame. In August 2002, he announced his retirement from live performing. But he continued to appear frequently on television, including a humorous appearance on a 2006 commercial for GEICO insurance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard had hip surgery in November 2009 at Vanderbilt University Medical Center in Nashville, and asked fans at the time to pray for him. He lived in the Nashville area at the time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since shelter in place started, I’ve lost my taste for mainstream pop songs.\u003c/p>\n\u003cp>At first, being home alone 24/7 made me antsy. But now, instead of hustling from work to gym to party, I’m meditating, journaling and trying to become fascinated with my inner life instead of fixating on a stressful external world I can’t control.\u003c/p>\n\u003cp>I noticed my listening habits changing along with this shift in lifestyle. Pop songs packaged into a neat 3.5 minutes feel too structured and rushed when there’s nowhere to be. And the lyrics of mainstream releases describe things that belong to the old world. None of us are going to clubs and dancing with friends or strangers; relationships have taken on completely new shapes.\u003c/p>\n\u003cp>When this all started, I turned to an old favorite album, \u003ca href=\"https://www.npr.org/2018/02/06/582178492/meditating-on-the-healing-power-of-alice-coltranes-journey-in-satchidananda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Journey in Satchidananda\u003c/em>\u003c/a> by Alice Coltrane, featuring avant-garde saxophonist Pharoah Sanders. Glittering with Coltrane’s resonant harp playing, the album’s mood is uplifting yet pensive, contemplative yet serene—a perfect soundtrack for making peace with a difficult reality while hopefully looking towards the future. Coltrane composed it shortly after the death of her husband, the legendary saxophonist John Coltrane, and it marked the start of a spiritual journey that eventually led to her opening an ashram in Southern California.\u003c/p>\n\u003cp>Playing that album on repeat renewed my appreciation for longwinded sonic explorations. My playlists suddenly became full of Coltrane, Sanders, trumpet player Don Cherry and pianist Lonnie Liston Smith, all top-tier jazz players whose music took a spiritual, psychedelic bend in the ’70s. That eventually led me to Nigerian disco and Afrobeat, Brazilian tropical house and other genres with funky pulses, smooth grooves and luxuriously lengthy runtimes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Oakland-based streaming service \u003ca href=\"https://bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> waiving its fees on May 1 so that 100% of sales go to independent artists and labels affected by the pandemic, what better time to indulge in unhurried, mood-elevating and escapist tunes? Here are some recommendations sure to inspire a little joy and maybe a kitchen dance party—something we all need right now.\u003c/p>\n\u003ch2>Orlando Julius, \u003cem>Disco Hi-Life\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2352894750/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>When COVID-19 anxiety begins to fill your brain, Orlando Julius’ \u003cem>Disco Hi-Life\u003c/em> is an antidote best administered immediately and in large doses. The title track’s brilliant groove, sprightly horns, and uncomplicated, celebratory lyrics all come together in a propulsive dance floor jam that will keep you moving for all nine minutes of its duration. The Nigerian Afro-soul saxophonist, composer and singer originally recorded the project for Unicef in celebration of 1979’s status as International Year of the Child, and the record was only pressed in small, promotional batches. But \u003cem>Disco Hi-Life\u003c/em> quickly transcended its originally narrow audience, with French label Hot Casa Records rereleasing the album in 2014.\u003c/p>\n\u003ch2>Brijean, \u003ci>Walkie Talkie\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1625707333/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Top-notch auxiliary percussion makes a welcome appearance in the ebullient house, disco and funk-inflected tunes of Brijean, a collaboration between Oakland conga wizard Brijean Murphy and producer Doug Stuart, best known for his work in the jazzy indie pop band Bells Atlas. \u003cem>Walkie Talkie\u003c/em>, Brijean’s 2019 EP, pairs sepia-toned, ’70s synths with hip-shaking rhythms. Murphy’s impressively elaborate conga work is the standout element (she even adorably whispers “Nailed it!” after a solo on lead single “Show and Tell”). \u003cem>Walkie Talkie\u003c/em> is as fun as it is dynamic.\u003c/p>\n\u003ch2>The Mattson 2, \u003cem>Mattson 2 Play a Love Supreme\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1134656116/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Identical twins The Mattson 2 made a bold move when they decided to cover John Coltrane’s \u003cem>A Love Supreme\u003c/em>, one of the most revered recordings in jazz history. On the exalted 1965 album, Coltrane channels a higher power through improvisation on saxophone (as the historic St. John Coltrane Church in San Francisco attests), and so the Mattson 2 tap into a spiritual musical connection they call “twinchronicity” in their 2018 version. The Los Angeles brothers reimagine the project with synths and guitars, rather than brass, as the main melodic instruments, injecting \u003cem>A Love Supreme\u003c/em> with a warbly, psychedelic contemporary feel.\u003c/p>\n\u003ch2>Xuxa Santamaria, \u003ci>Chancletas D’Oro\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4072831390/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland duo Xuxa Santamaria brings the drama on \u003cem>Chancletas D’Oro\u003c/em>, an ambitious album where high-energy rhythms and moody synths interplay like dappled light. In their danceable, bilingual Spanish-English pop, the group explores—and sometimes twists, sometimes dismantles—narratives about women in myth and history, questioning gender roles that promote submissiveness and subjugation. A disco pulse mingles with darkwave reverberations, and even trap drums occasionally sneak in. \u003cem>Chanceltas D’Oro\u003c/em> is an achievement for the ways it collapses the space between styles, cultures and even points in history to create a singular sound and concept.\u003c/p>\n\u003ch2>Chit Chat Records, \u003cem>Brazilian Compilation Series Vol. 1 & 2\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3475982109/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Angeles label Chit Chat Records recruited São Paulo dance duo Fatnotronic to curate two effervescent compilations with an eclectic array of remixes of ’70s Brazilian disco and boogie tracks. Released in 2015 and ’17, the series features L.A. duo Poolside (fun fact: aforementioned Brijean Murphy tours with them as a live percussionist), Daniel.T and Tony Adams. The sonic equivalent of a catnap on the beach, these comps are flush with warm tones, live horns and violins and rhythms that transport you to a balmy, seaside discotheque with a sweaty glass in hand.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since shelter in place started, I’ve lost my taste for mainstream pop songs.\u003c/p>\n\u003cp>At first, being home alone 24/7 made me antsy. But now, instead of hustling from work to gym to party, I’m meditating, journaling and trying to become fascinated with my inner life instead of fixating on a stressful external world I can’t control.\u003c/p>\n\u003cp>I noticed my listening habits changing along with this shift in lifestyle. Pop songs packaged into a neat 3.5 minutes feel too structured and rushed when there’s nowhere to be. And the lyrics of mainstream releases describe things that belong to the old world. None of us are going to clubs and dancing with friends or strangers; relationships have taken on completely new shapes.\u003c/p>\n\u003cp>When this all started, I turned to an old favorite album, \u003ca href=\"https://www.npr.org/2018/02/06/582178492/meditating-on-the-healing-power-of-alice-coltranes-journey-in-satchidananda\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Journey in Satchidananda\u003c/em>\u003c/a> by Alice Coltrane, featuring avant-garde saxophonist Pharoah Sanders. Glittering with Coltrane’s resonant harp playing, the album’s mood is uplifting yet pensive, contemplative yet serene—a perfect soundtrack for making peace with a difficult reality while hopefully looking towards the future. Coltrane composed it shortly after the death of her husband, the legendary saxophonist John Coltrane, and it marked the start of a spiritual journey that eventually led to her opening an ashram in Southern California.\u003c/p>\n\u003cp>Playing that album on repeat renewed my appreciation for longwinded sonic explorations. My playlists suddenly became full of Coltrane, Sanders, trumpet player Don Cherry and pianist Lonnie Liston Smith, all top-tier jazz players whose music took a spiritual, psychedelic bend in the ’70s. That eventually led me to Nigerian disco and Afrobeat, Brazilian tropical house and other genres with funky pulses, smooth grooves and luxuriously lengthy runtimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Oakland-based streaming service \u003ca href=\"https://bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> waiving its fees on May 1 so that 100% of sales go to independent artists and labels affected by the pandemic, what better time to indulge in unhurried, mood-elevating and escapist tunes? Here are some recommendations sure to inspire a little joy and maybe a kitchen dance party—something we all need right now.\u003c/p>\n\u003ch2>Orlando Julius, \u003cem>Disco Hi-Life\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2352894750/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>When COVID-19 anxiety begins to fill your brain, Orlando Julius’ \u003cem>Disco Hi-Life\u003c/em> is an antidote best administered immediately and in large doses. The title track’s brilliant groove, sprightly horns, and uncomplicated, celebratory lyrics all come together in a propulsive dance floor jam that will keep you moving for all nine minutes of its duration. The Nigerian Afro-soul saxophonist, composer and singer originally recorded the project for Unicef in celebration of 1979’s status as International Year of the Child, and the record was only pressed in small, promotional batches. But \u003cem>Disco Hi-Life\u003c/em> quickly transcended its originally narrow audience, with French label Hot Casa Records rereleasing the album in 2014.\u003c/p>\n\u003ch2>Brijean, \u003ci>Walkie Talkie\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1625707333/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Top-notch auxiliary percussion makes a welcome appearance in the ebullient house, disco and funk-inflected tunes of Brijean, a collaboration between Oakland conga wizard Brijean Murphy and producer Doug Stuart, best known for his work in the jazzy indie pop band Bells Atlas. \u003cem>Walkie Talkie\u003c/em>, Brijean’s 2019 EP, pairs sepia-toned, ’70s synths with hip-shaking rhythms. Murphy’s impressively elaborate conga work is the standout element (she even adorably whispers “Nailed it!” after a solo on lead single “Show and Tell”). \u003cem>Walkie Talkie\u003c/em> is as fun as it is dynamic.\u003c/p>\n\u003ch2>The Mattson 2, \u003cem>Mattson 2 Play a Love Supreme\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1134656116/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Identical twins The Mattson 2 made a bold move when they decided to cover John Coltrane’s \u003cem>A Love Supreme\u003c/em>, one of the most revered recordings in jazz history. On the exalted 1965 album, Coltrane channels a higher power through improvisation on saxophone (as the historic St. John Coltrane Church in San Francisco attests), and so the Mattson 2 tap into a spiritual musical connection they call “twinchronicity” in their 2018 version. The Los Angeles brothers reimagine the project with synths and guitars, rather than brass, as the main melodic instruments, injecting \u003cem>A Love Supreme\u003c/em> with a warbly, psychedelic contemporary feel.\u003c/p>\n\u003ch2>Xuxa Santamaria, \u003ci>Chancletas D’Oro\u003c/i>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4072831390/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland duo Xuxa Santamaria brings the drama on \u003cem>Chancletas D’Oro\u003c/em>, an ambitious album where high-energy rhythms and moody synths interplay like dappled light. In their danceable, bilingual Spanish-English pop, the group explores—and sometimes twists, sometimes dismantles—narratives about women in myth and history, questioning gender roles that promote submissiveness and subjugation. A disco pulse mingles with darkwave reverberations, and even trap drums occasionally sneak in. \u003cem>Chanceltas D’Oro\u003c/em> is an achievement for the ways it collapses the space between styles, cultures and even points in history to create a singular sound and concept.\u003c/p>\n\u003ch2>Chit Chat Records, \u003cem>Brazilian Compilation Series Vol. 1 & 2\u003c/em>\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3475982109/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Angeles label Chit Chat Records recruited São Paulo dance duo Fatnotronic to curate two effervescent compilations with an eclectic array of remixes of ’70s Brazilian disco and boogie tracks. Released in 2015 and ’17, the series features L.A. duo Poolside (fun fact: aforementioned Brijean Murphy tours with them as a live percussionist), Daniel.T and Tony Adams. The sonic equivalent of a catnap on the beach, these comps are flush with warm tones, live horns and violins and rhythms that transport you to a balmy, seaside discotheque with a sweaty glass in hand.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Symphony on Wednesday announced the cancellation of all concerts remaining in its 2019-20 season as well as pay cuts affecting nearly 200 workers due to shelter-in-place orders to curb the spread of the novel coronavirus. [aside postID=arts_13865435,arts_13876535,arts_13877348]\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the world has gone relatively quiet amid the coronavirus pandemic, International Jazz Day plans on bringing some joyful sounds from across the globe together in celebration of the music. Jazz Day, which falls on April 30 of each year, was initially established in 2011 by musician and UNESCO Goodwill Ambassador \u003ca href=\"https://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener noreferrer\">Herbie Hancock\u003c/a> to bring together communities worldwide to celebrate the humanity of the universal art form through workshops, discussions and an all-star \u003ca href=\"https://jazzday.com/2020/04/virtual-ijd-announce/\" target=\"_blank\" rel=\"noopener noreferrer\">global concert\u003c/a>.\u003c/p>\n\u003cp>Cape Town, South Africa, was supposed to host this year’s celebrations, but the events were canceled in late March due to the pandemic. Instead, the day’s activities will remain truly international by taking place online and hosted by Hancock.\u003c/p>\n\u003ch3>Featured Events:\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>International Jazz Day Panel with Nate Chinen\u003c/strong>\u003cbr>\nTime: 1:30 p.m. ET\u003c/li>\n\u003cli>\u003cstrong>International Jazz Day Global Concert \u003c/strong>\u003cbr>\nTime: 3 p.m. ET\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=C54ape_UfwY\u003c/p>\n\u003cp>The marquee Global Concert, which begins at 12:00 p.m. PT on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>, will feature streamed performances from bassist \u003ca href=\"https://www.npr.org/artists/15439719/marcus-miller\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Miller\u003c/a> (U.S.), pianist \u003ca href=\"https://www.npr.org/artists/17022256/lang-lang\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> (China), saxophonist Igor Butman (Russia), vocalist Youn Sun Nah (South Korea), and bassist Alune Wade (Senegal), among other worldwide leaders in the genre.\u003c/p>\n\u003cp>In the spirit of Jazz Day’s mission of inclusion, a free series of educational master classes and children’s activities in six languages conducted by renowned musicians will be streamed in the hours leading up to the concert. The pre-concert program will also include a panel discussion on the importance of art and the international community during the public health crisis, hosted by NPR Music and WBGO’s Nate Chinen and featuring performer Marcus Miller and South African vocalist Sibongile Khumalo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the need to celebrate Jazz Day in isolation this year, Herbie Hancock remains optimistic in the message and impact of the festivities.\u003c/p>\n\u003cp>“Now more than ever before,” he says, “let’s band together and spread the ethics of Jazz Day’s global movement around the planet and use this as a golden opportunity for humankind to reconnect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information can be found on \u003ca href=\"https://jazzday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">jazzday.com\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stream+These+Virtual+Events+To+Celebrate+International+Jazz+Day+On+April+30&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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