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"content": "\u003cp>When concerts resume in California, many musicians will have one less thing to worry about. \u003c/p>\n\u003cp>Industry groups and elected officials have reached an agreement to amend Assembly Bill 5 (AB 5), the controversial gig worker law, to exempt certain musicians and music professionals. [aside postID=arts_13871229,news_11794049,news_news_11812496]\u003c/p>\n\u003cp>AB 5 was intended to protect worker’s rights by making it more difficult for so-called “gig economy” companies such as Uber and Lyft to classify their drivers as independent contractors. \u003c/p>\n\u003cp>But the bill, signed into law in September, has drawn criticism from independent musicians who say it increases their costs and limits their opportunities for work. The pending amendments announced this month are designed to address these unintended consequences. \u003c/p>\n\u003cp>The amendments exempt musicians and music professionals whose work is primarily original and inventive, as opposed to directed by an employer. Still, AB5 will continue to apply to significant groups of musicians, including performers in orchestral, festival and theme park settings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Ticket Holders Are Struggling To Get Refunds For Concerts And Live Events",
"headTitle": "Why Ticket Holders Are Struggling To Get Refunds For Concerts And Live Events | KQED",
"content": "\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \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=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \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=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland MC Passwurdz is a professional battle rapper. That means he gets paid to go on stage and publicly humiliate his opponents.\u003c/p>\n\u003cp>It’s an art form that dates back to the early days of Hip Hop and has been depicted in movies like \u003cem>8 Mile\u003c/em>. On top of being a competition of lyrical prowess, these battles provide comedic relief for audiences – and a cathartic release for artists, as well.\u003c/p>\n\u003cp>Passwurdz, aka \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Pass\u003c/a>, is also part of the duo ANML PLNT (along with Jordan Jennings, aka Apes), which released an album earlier this year, called “The Box.”\u003c/p>\n\u003cp>Now that people are dealing with the emotions of daily uncertainty, I figured it’d be a good time to get some tips from a professional about how to use battle raps to constructively release some pent up emotions.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2595187587&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow is a lightly edited excerpt of my conversation with Passwurdz.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Do you find therapy in writing these raps and clowning people?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Yeah, definitely. It’s like when you’re punching a pillow or something. You know what I mean? Getting out that aggression in a different channel is kind of good for everybody. If that means we are not going to fight or do something crazy, instead we just yell at each other, we can do that. And yeah, honestly, just any exercise in writing for me is really therapeutic. Because it takes a lot of focus and it’s a lot of writing too.\u003c/p>\n\u003cfigure id=\"attachment_13879233\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg\" alt=\"Passwurdz at a rap battle\" width=\"750\" height=\"1125\" class=\"size-full wp-image-13879233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111-160x240.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Passwurdz at a rap battle \u003ccite>(\u003ca href=\"https://heartstringweddings.com/\">Huy Nguyen\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A three minute round is a whole song. But instead there’s no chorus, there’s no beats, you’re just rapping the whole time. There’s a lot of writing. But the process of putting that together, I treat this shit like a puzzle: What can I say here to connect this concept and dot to make the crowd go crazy?\u003c/p>\n\u003cp>\u003cem>Pen: So as people are listening to this, they’ve been domesticated for some time now, and while they’re in their house, I’m sure they’ve brewed up some anger. If they’re looking for a way to vent, a valve to get some heat off their chest and they’re looking to start battle rapping or just throw some bars out there, do you have any words of advice for them?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Absolutely. I do have words of advice. I would say watch some battles. I would say watch\u003ca href=\"https://www.youtube.com/watch?v=85lxWGUV_ZY\"> Loaded Lux, watch Aye Verb\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCflIAeM03JFL9ml03LwYF-g\">URL\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCIuFtIO8i_XqA8lM7q4B1FQ\">King of the Dot\u003c/a>. And I would use your mirror. I would rap to yourself. I’d write some things down. Record yourself battling an imaginary person. Pick a rapper, a famous rapper, and just battle him. You might destroy him.\u003c/p>\n\u003cp>\u003cem>Pen: Write 16 bars about your supervisor?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: You feel me? All that! Straight up, but I’d definitely recommend filming yourself rapping… And figure out who you could send it to that might want to see you bar out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland MC Passwurdz is a professional battle rapper. That means he gets paid to go on stage and publicly humiliate his opponents.\u003c/p>\n\u003cp>It’s an art form that dates back to the early days of Hip Hop and has been depicted in movies like \u003cem>8 Mile\u003c/em>. On top of being a competition of lyrical prowess, these battles provide comedic relief for audiences – and a cathartic release for artists, as well.\u003c/p>\n\u003cp>Passwurdz, aka \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Pass\u003c/a>, is also part of the duo ANML PLNT (along with Jordan Jennings, aka Apes), which released an album earlier this year, called “The Box.”\u003c/p>\n\u003cp>Now that people are dealing with the emotions of daily uncertainty, I figured it’d be a good time to get some tips from a professional about how to use battle raps to constructively release some pent up emotions.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2595187587&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nBelow is a lightly edited excerpt of my conversation with Passwurdz.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Do you find therapy in writing these raps and clowning people?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Yeah, definitely. It’s like when you’re punching a pillow or something. You know what I mean? Getting out that aggression in a different channel is kind of good for everybody. If that means we are not going to fight or do something crazy, instead we just yell at each other, we can do that. And yeah, honestly, just any exercise in writing for me is really therapeutic. Because it takes a lot of focus and it’s a lot of writing too.\u003c/p>\n\u003cfigure id=\"attachment_13879233\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg\" alt=\"Passwurdz at a rap battle\" width=\"750\" height=\"1125\" class=\"size-full wp-image-13879233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/DE3038C7-979D-4AD4-AD17-B7669A5B9111-160x240.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Passwurdz at a rap battle \u003ccite>(\u003ca href=\"https://heartstringweddings.com/\">Huy Nguyen\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A three minute round is a whole song. But instead there’s no chorus, there’s no beats, you’re just rapping the whole time. There’s a lot of writing. But the process of putting that together, I treat this shit like a puzzle: What can I say here to connect this concept and dot to make the crowd go crazy?\u003c/p>\n\u003cp>\u003cem>Pen: So as people are listening to this, they’ve been domesticated for some time now, and while they’re in their house, I’m sure they’ve brewed up some anger. If they’re looking for a way to vent, a valve to get some heat off their chest and they’re looking to start battle rapping or just throw some bars out there, do you have any words of advice for them?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: Absolutely. I do have words of advice. I would say watch some battles. I would say watch\u003ca href=\"https://www.youtube.com/watch?v=85lxWGUV_ZY\"> Loaded Lux, watch Aye Verb\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCflIAeM03JFL9ml03LwYF-g\">URL\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UCIuFtIO8i_XqA8lM7q4B1FQ\">King of the Dot\u003c/a>. And I would use your mirror. I would rap to yourself. I’d write some things down. Record yourself battling an imaginary person. Pick a rapper, a famous rapper, and just battle him. You might destroy him.\u003c/p>\n\u003cp>\u003cem>Pen: Write 16 bars about your supervisor?\u003c/em>\u003c/p>\n\u003cp>Passwurdz: You feel me? All that! Straight up, but I’d definitely recommend filming yourself rapping… And figure out who you could send it to that might want to see you bar out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Depending on who you ask, \u003ca href=\"https://www.facebook.com/tonybennett/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a>’s “I Left My Heart in San Francisco” is either an overplayed cliché or the ultimate ode to the windswept beauty of the city.\u003c/p>\n\u003cp>This weekend, city residents will get the opportunity to pledge allegiance either way with a city-wide sing-along of the 1962 classic. The idea is to make some joyful noise for the medical professionals battling COVID-19 while boosting shelter-in-place morale, \u003ca href=\"https://www.kqed.org/arts/13876925/only-italians-should-sing-on-balconies-as-these-other-nations-prove\" target=\"_blank\" rel=\"noopener noreferrer\">Italian balcony-style\u003c/a>.\u003c/p>\n\u003cp>The event was thought up by Charlotte Mailliard Shultz, San Francisco’s Chief of Protocol, and Mayor London Breed has thrown her support behind it. “By taking a moment to join together in song to celebrate our frontline health workers and everyone working to make a difference during this pandemic, we can recognize how connected we are to one another,” Breed said, “not just here in San Francisco, but all over the world.”\u003c/p>\n\u003cp>https://youtu.be/GLS5m5-b52w\u003c/p>\n\u003cp>Bennett’s very first performance of “I Left My Heart in San Francisco” took place in December 1961 inside the \u003ca href=\"https://www.fairmont.com/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Fairmont Hotel\u003c/a>’s Venetian Room. Endorsing Saturday’s event, Bennett just released a brand new rendition of the song for people to sing along with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bennett said: “San Francisco has been in my heart for over 50 years. I am so proud and impressed with how the City by the Bay has continued to ‘bend the curve’ during the COVID-19 crisis and serve as an inspiration to the world of how together and alone we can make a difference.”\u003c/p>\n\u003cp>The “I Left My Heart in San Francisco” sing-along starts at noon this Saturday, April 25. Participants are encouraged to share their efforts on social media using the hashtag #SingOutSF.\u003c/p>\n\u003cp>We’ll leave you with a lyric video so you can brush up on your vocal stylings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SC73kdOL5hk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on who you ask, \u003ca href=\"https://www.facebook.com/tonybennett/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a>’s “I Left My Heart in San Francisco” is either an overplayed cliché or the ultimate ode to the windswept beauty of the city.\u003c/p>\n\u003cp>This weekend, city residents will get the opportunity to pledge allegiance either way with a city-wide sing-along of the 1962 classic. The idea is to make some joyful noise for the medical professionals battling COVID-19 while boosting shelter-in-place morale, \u003ca href=\"https://www.kqed.org/arts/13876925/only-italians-should-sing-on-balconies-as-these-other-nations-prove\" target=\"_blank\" rel=\"noopener noreferrer\">Italian balcony-style\u003c/a>.\u003c/p>\n\u003cp>The event was thought up by Charlotte Mailliard Shultz, San Francisco’s Chief of Protocol, and Mayor London Breed has thrown her support behind it. “By taking a moment to join together in song to celebrate our frontline health workers and everyone working to make a difference during this pandemic, we can recognize how connected we are to one another,” Breed said, “not just here in San Francisco, but all over the world.”\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/GLS5m5-b52w'\n title='//www.youtube.com/embed/GLS5m5-b52w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bennett’s very first performance of “I Left My Heart in San Francisco” took place in December 1961 inside the \u003ca href=\"https://www.fairmont.com/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Fairmont Hotel\u003c/a>’s Venetian Room. Endorsing Saturday’s event, Bennett just released a brand new rendition of the song for people to sing along with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bennett said: “San Francisco has been in my heart for over 50 years. I am so proud and impressed with how the City by the Bay has continued to ‘bend the curve’ during the COVID-19 crisis and serve as an inspiration to the world of how together and alone we can make a difference.”\u003c/p>\n\u003cp>The “I Left My Heart in San Francisco” sing-along starts at noon this Saturday, April 25. Participants are encouraged to share their efforts on social media using the hashtag #SingOutSF.\u003c/p>\n\u003cp>We’ll leave you with a lyric video so you can brush up on your vocal stylings.\u003c/p>\n\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/SC73kdOL5hk'\n title='//www.youtube.com/embed/SC73kdOL5hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Cardi B went live on Instagram last month to tell her fans they should be taking COVID-19 seriously, a Brooklyn DJ laid her speech over a beat and turned it into an \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/coronavirus-cardi-b.html\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes success\u003c/a>.\u003c/p>\n\u003cp>The song—”Coronavirus Remix”—is one of thousands of examples of how artists around the world are using music to spread awareness about the pandemic. Researchers say that in an outbreak, songs about a disease can do more than entertain and uplift—they can transmit important health information to a large number of people quickly and make the message stick.\u003c/p>\n\u003cp>\u003ca href=\"https://steinhardt.nyu.edu/people/carlos-chirinos\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Chirinos\u003c/a>, a professor at New York University, saw this happen during the 2014 \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2014/11/09/362315884/reggae-vibe-ebola-message-african-superstars-try-to-go-viral\" target=\"_blank\" rel=\"noopener noreferrer\">Ebola crisis\u003c/a>, with songs like “Ebola is Real” and “Africa Stop Ebola.”\u003c/p>\n\u003cp>“If songs are catchy, they’re packaging information [about the disease] in three minutes,” he says. “And if people like the song, they’re likely to repeat it and listen to it again and again.”\u003c/p>\n\u003cp>Chirinos is seeing the same musical phenomenon in the coronavirus pandemic and has been collecting songs for his research\u003cstrong>. \u003c/strong>From Vietnam to Uganda and Panama, here’s a sampling of trending COVID-19 anthems from around the world.\u003c/p>\n\u003ch3>\u003cstrong>Vietnam\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ctF5aMV05kM&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Vietnam, the Ministry of Health rewrote the lyrics to the 2017 hit song “Ghen” by Min and Erik—originally about a jealous ex — into a PSA about the coronavirus. Renamed “\u003ca href=\"https://www.youtube.com/watch?v=BtulL3oArQw\" target=\"_blank\" rel=\"noopener noreferrer\">Ghen Cô Vy\u003c/a>,” the new version sparked a choreography from dancer Quang Đăng demonstrating the correct way to wash your hands: under the nails, around the thumbs, between the fingers.\u003c/p>\n\u003cp>The dance racked up more than 5 million views on the choreographer’s YouTube channel and took off on Tiktok, generating a \u003ca href=\"https://www.tiktok.com/tag/ghencovychallenge?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">#ghencovychallenge\u003c/a> with more than 31 million hashtag views. In the videos, people replicate Đăng’s moves as the song reinforces that you should avoid touching your face and lather up with soap for 20 seconds before rinsing off your hands.\u003c/p>\n\u003ch3>\u003cstrong>Hong Kong\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=6IOS7-4n12c&feature=emb_logo\u003c/p>\n\u003cp>In early February, Hong Kong performer Kathy Mak released a \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">spoof\u003c/a> of the song “Torn,” the ’90s hit by Natalia Imbruglia, that pokes fun at the paranoia of the pandemic.\u003c/p>\n\u003cp>“I sterilize, I sanitize/ My hands are always freaking dry,” she sings. “There’s just so many things that I can’t touch/ I’m torn.”\u003c/p>\n\u003cp>A lot of listeners share her sentiments. Two \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">different\u003c/a> videos of the song have racked up over a million views combined.\u003c/p>\n\u003ch3>\u003cstrong>Senegal\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=06YbY1MLp4A&feature=emb_logo\u003c/p>\n\u003cp>In Senegal, hip-hop collective Y’en a Marre has collaborated with the country’s health ministry to create a song in French called “Fagaru Ci Coronavirus” or “Shield Against Coronavirus.”\u003c/p>\n\u003cp>Since its March 19 release, the song and accompanying music video—featuring the group wearing medical gear and rapping in a hospital—aims to educate people on the threats of COVID-19 while encouraging compliance in prevention tactics.\u003c/p>\n\u003cp>The group, which is known in the country for rallying young people around social justice issues, promotes solidarity. One of the lyrics: \u003cem>“Soutenons nous mutuallement et combettons le tous ensemble\u003c/em>” or “\u003cem>Support each other and fight it all together.”\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Uganda\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=PUHrck2g7Ic&feature=emb_logo\u003c/p>\n\u003cp>Ugandan reggae artist and political activist Bobi Wine recently \u003ca href=\"https://www.latimes.com/world-nation/story/2020-03-29/ugandas-bobi-wine-sings-against-virus-criticizes-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out\u003c/a> against what he says is the failure of African governments to invest in their health-care systems—so he released an upbeat jam on March 25 called “Corona Virus Alert” amid a growing number of cases in the country.\u003c/p>\n\u003cp>With lyrics like “serious fever is a symptom/ dry cough is a symptom/ even sneezing is a symptom,” it provides instructions for what to do if you feel sick and encourages people to take the disease seriously. He points out that everyone must do their part in sanitizing and social distancing to stop transmission of the disease. So far, the song has racked up over a million views on YouTube.\u003c/p>\n\u003ch3>\u003cstrong>Panama\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qkkQfY2sBMs\u003c/p>\n\u003cp>Salsa musician and former presidential candidate Rubén Blades is a source of national pride for Panamanians. The artist, who recorded the best-selling salsa record of all time in 1978, honed in on the sentiment of patriotism on March 26 with a song and music video called “Para Panama,” or “For Panama.”\u003c/p>\n\u003cp>The song frames staying home as a statement of solidarity for the country’s well-being. And it pays homage to health-care workers with lines like: \u003cem>“Arriesgan su vida para socorrernos/ eso no se olvida/ y hay que agradecerlo”\u003c/em> or “\u003cem>They risk their lives to help us/ that can’t be forgotten/ and has to be appreciated.”\u003c/em>\u003c/p>\n\u003cp>The music video also features crowd-sourced videos of Panamanians singing along to the song’s chorus in their homes as a symbol of gratitude for the country’s doctors and nurses.\u003c/p>\n\u003ch3>\u003cstrong>Puerto Rico\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=x3c18yP6uDc\u003c/p>\n\u003cp>International rap star Bad Bunny \u003ca href=\"https://www.npr.org/sections/altlatino/2020/03/13/815040558/reviving-classic-reggaeton-bad-bunnys-new-album-yhlqmdlg-breaks-records\" target=\"_blank\" rel=\"noopener noreferrer\">broke Billboard records\u003c/a> earlier this year with the highest charting all-Spanish-language album in history—but now the Puerto Rican artist is switching gears from singing about the club to telling his young audience to stop going out and practice social distancing.\u003c/p>\n\u003cp>On the SoundCloud track titled “En Casita” or “At Home,” he sings: “\u003cem>Yo que te quería ver/ pero no se va poder/toca quedarme en casa\u003c/em>,” translating to “\u003cem>I wanted to see you/ but that won’t be possible/I have to stay home\u003c/em>.”\u003c/p>\n\u003cp>With more than one million streams on the song since its April 4 debut, Bad Bunny’s lyrics also emphasize that although it can be annoying to feel stuck inside, it’s a necessary sacrifice for vulnerable populations—especially given that Puerto Rico is the U.S. territory with the most \u003ca href=\"https://www.npr.org/2020/04/06/828439886/puerto-ricans-are-at-risk-from-the-coronavirus-and-a-lack-of-information\" target=\"_blank\" rel=\"noopener noreferrer\">older Americans\u003c/a> per capita.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Is there a COVID-19 song you can’t stop listening to? Send us an email goatsandsoda@npr.org.\u003c/strong>\u003c/em>\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=Bad+Bunny+And+Bobi+Wine+Are+Among+The+Global+Artists+Singing+About+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Cardi B went live on Instagram last month to tell her fans they should be taking COVID-19 seriously, a Brooklyn DJ laid her speech over a beat and turned it into an \u003ca href=\"https://www.nytimes.com/2020/03/17/arts/music/coronavirus-cardi-b.html\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes success\u003c/a>.\u003c/p>\n\u003cp>The song—”Coronavirus Remix”—is one of thousands of examples of how artists around the world are using music to spread awareness about the pandemic. Researchers say that in an outbreak, songs about a disease can do more than entertain and uplift—they can transmit important health information to a large number of people quickly and make the message stick.\u003c/p>\n\u003cp>\u003ca href=\"https://steinhardt.nyu.edu/people/carlos-chirinos\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Chirinos\u003c/a>, a professor at New York University, saw this happen during the 2014 \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2014/11/09/362315884/reggae-vibe-ebola-message-african-superstars-try-to-go-viral\" target=\"_blank\" rel=\"noopener noreferrer\">Ebola crisis\u003c/a>, with songs like “Ebola is Real” and “Africa Stop Ebola.”\u003c/p>\n\u003cp>“If songs are catchy, they’re packaging information [about the disease] in three minutes,” he says. “And if people like the song, they’re likely to repeat it and listen to it again and again.”\u003c/p>\n\u003cp>Chirinos is seeing the same musical phenomenon in the coronavirus pandemic and has been collecting songs for his research\u003cstrong>. \u003c/strong>From Vietnam to Uganda and Panama, here’s a sampling of trending COVID-19 anthems from around the world.\u003c/p>\n\u003ch3>\u003cstrong>Vietnam\u003c/strong>\u003c/h3>\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/ctF5aMV05kM'\n title='//www.youtube.com/embed/ctF5aMV05kM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Vietnam, the Ministry of Health rewrote the lyrics to the 2017 hit song “Ghen” by Min and Erik—originally about a jealous ex — into a PSA about the coronavirus. Renamed “\u003ca href=\"https://www.youtube.com/watch?v=BtulL3oArQw\" target=\"_blank\" rel=\"noopener noreferrer\">Ghen Cô Vy\u003c/a>,” the new version sparked a choreography from dancer Quang Đăng demonstrating the correct way to wash your hands: under the nails, around the thumbs, between the fingers.\u003c/p>\n\u003cp>The dance racked up more than 5 million views on the choreographer’s YouTube channel and took off on Tiktok, generating a \u003ca href=\"https://www.tiktok.com/tag/ghencovychallenge?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">#ghencovychallenge\u003c/a> with more than 31 million hashtag views. In the videos, people replicate Đăng’s moves as the song reinforces that you should avoid touching your face and lather up with soap for 20 seconds before rinsing off your hands.\u003c/p>\n\u003ch3>\u003cstrong>Hong Kong\u003c/strong>\u003c/h3>\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/6IOS7-4n12c'\n title='//www.youtube.com/embed/6IOS7-4n12c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In early February, Hong Kong performer Kathy Mak released a \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">spoof\u003c/a> of the song “Torn,” the ’90s hit by Natalia Imbruglia, that pokes fun at the paranoia of the pandemic.\u003c/p>\n\u003cp>“I sterilize, I sanitize/ My hands are always freaking dry,” she sings. “There’s just so many things that I can’t touch/ I’m torn.”\u003c/p>\n\u003cp>A lot of listeners share her sentiments. Two \u003ca href=\"https://www.youtube.com/watch?v=i_QXvh8fVPI&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">different\u003c/a> videos of the song have racked up over a million views combined.\u003c/p>\n\u003ch3>\u003cstrong>Senegal\u003c/strong>\u003c/h3>\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/06YbY1MLp4A'\n title='//www.youtube.com/embed/06YbY1MLp4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Senegal, hip-hop collective Y’en a Marre has collaborated with the country’s health ministry to create a song in French called “Fagaru Ci Coronavirus” or “Shield Against Coronavirus.”\u003c/p>\n\u003cp>Since its March 19 release, the song and accompanying music video—featuring the group wearing medical gear and rapping in a hospital—aims to educate people on the threats of COVID-19 while encouraging compliance in prevention tactics.\u003c/p>\n\u003cp>The group, which is known in the country for rallying young people around social justice issues, promotes solidarity. One of the lyrics: \u003cem>“Soutenons nous mutuallement et combettons le tous ensemble\u003c/em>” or “\u003cem>Support each other and fight it all together.”\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Uganda\u003c/strong>\u003c/h3>\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/PUHrck2g7Ic'\n title='//www.youtube.com/embed/PUHrck2g7Ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ugandan reggae artist and political activist Bobi Wine recently \u003ca href=\"https://www.latimes.com/world-nation/story/2020-03-29/ugandas-bobi-wine-sings-against-virus-criticizes-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out\u003c/a> against what he says is the failure of African governments to invest in their health-care systems—so he released an upbeat jam on March 25 called “Corona Virus Alert” amid a growing number of cases in the country.\u003c/p>\n\u003cp>With lyrics like “serious fever is a symptom/ dry cough is a symptom/ even sneezing is a symptom,” it provides instructions for what to do if you feel sick and encourages people to take the disease seriously. He points out that everyone must do their part in sanitizing and social distancing to stop transmission of the disease. So far, the song has racked up over a million views on YouTube.\u003c/p>\n\u003ch3>\u003cstrong>Panama\u003c/strong>\u003c/h3>\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/qkkQfY2sBMs'\n title='//www.youtube.com/embed/qkkQfY2sBMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salsa musician and former presidential candidate Rubén Blades is a source of national pride for Panamanians. The artist, who recorded the best-selling salsa record of all time in 1978, honed in on the sentiment of patriotism on March 26 with a song and music video called “Para Panama,” or “For Panama.”\u003c/p>\n\u003cp>The song frames staying home as a statement of solidarity for the country’s well-being. And it pays homage to health-care workers with lines like: \u003cem>“Arriesgan su vida para socorrernos/ eso no se olvida/ y hay que agradecerlo”\u003c/em> or “\u003cem>They risk their lives to help us/ that can’t be forgotten/ and has to be appreciated.”\u003c/em>\u003c/p>\n\u003cp>The music video also features crowd-sourced videos of Panamanians singing along to the song’s chorus in their homes as a symbol of gratitude for the country’s doctors and nurses.\u003c/p>\n\u003ch3>\u003cstrong>Puerto Rico\u003c/strong>\u003c/h3>\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/x3c18yP6uDc'\n title='//www.youtube.com/embed/x3c18yP6uDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>International rap star Bad Bunny \u003ca href=\"https://www.npr.org/sections/altlatino/2020/03/13/815040558/reviving-classic-reggaeton-bad-bunnys-new-album-yhlqmdlg-breaks-records\" target=\"_blank\" rel=\"noopener noreferrer\">broke Billboard records\u003c/a> earlier this year with the highest charting all-Spanish-language album in history—but now the Puerto Rican artist is switching gears from singing about the club to telling his young audience to stop going out and practice social distancing.\u003c/p>\n\u003cp>On the SoundCloud track titled “En Casita” or “At Home,” he sings: “\u003cem>Yo que te quería ver/ pero no se va poder/toca quedarme en casa\u003c/em>,” translating to “\u003cem>I wanted to see you/ but that won’t be possible/I have to stay home\u003c/em>.”\u003c/p>\n\u003cp>With more than one million streams on the song since its April 4 debut, Bad Bunny’s lyrics also emphasize that although it can be annoying to feel stuck inside, it’s a necessary sacrifice for vulnerable populations—especially given that Puerto Rico is the U.S. territory with the most \u003ca href=\"https://www.npr.org/2020/04/06/828439886/puerto-ricans-are-at-risk-from-the-coronavirus-and-a-lack-of-information\" target=\"_blank\" rel=\"noopener noreferrer\">older Americans\u003c/a> per capita.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Is there a COVID-19 song you can’t stop listening to? Send us an email goatsandsoda@npr.org.\u003c/strong>\u003c/em>\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=Bad+Bunny+And+Bobi+Wine+Are+Among+The+Global+Artists+Singing+About+Coronavirus&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When seven Bay Area counties announced shelter-in-place orders to stop the spread of coronavirus on March 16, concert cancellations cost Oakland guitarist and improviser \u003ca href=\"https://www.karlevangelista.com/\">Karl Evangelista\u003c/a> more than a thousand dollars in expected income. Then came the painful postponement of the San Francisco International Arts Festival. That derailed months of planning to convene an international quartet to perform his multimedia composition \u003cem>Apura\u003c/em> and mark its release on the Astral Spirits label. Evangelista had fronted thousands for flights alone. [aside postID=arts_13876535,arts_13876314,arts_13876893]\u003c/p>\n\u003cp>Evangelista, a busy member of the Bay Area experimental music scene, feels fortunate to have only been laid off from one of his teaching gigs, and has lately turned his attention to organizing—and trying to monetize—livestreamed performances. But he’s anxious about the disruption’s lasting effects on a community already challenged by Bay Area housing costs and dwindling venues, as well as the emotional toll of isolation and other creative constraints.\u003c/p>\n\u003cp>“Improvised music being collaborative in nature, this is having a severe psychological impact on musicians who are basically unable to create,” Evangelista says.\u003c/p>\n\u003cp>No corner of the local music scene is spared harm, but the pandemic restrictions uniquely threaten independent artists in the experimental, jazz and improvisation community. Many of them live gig-to-gig on teaching, performing and audio engineering opportunities, all of which are diminished. Few derive meaningful income from physical merchandise or streaming. Layoffs are also hitting their day jobs: \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">arts administration\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/business/article/Mass-layoffs-at-Yelp-Eventbrite-show-15190391.php#\">music technology\u003c/a>, \u003ca href=\"https://www.kqed.org/bayareabites/136828/bay-area-organizations-helping-the-local-food-industry\">food service\u003c/a>, \u003ca href=\"https://twitter.com/lefebvre_sam/status/1247592353738575872\">record stores\u003c/a>.\u003c/p>\n\u003cp>“There isn’t the audience to graduate your career like in some genres,” Brent Miller, composer and co-founder of the San Francisco venue \u003ca href=\"https://centerfornewmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for New Music,\u003c/a> explains. “There’s no clear path.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, the congregating and collaboration that usually justifies the struggle is outlawed.\u003c/p>\n\u003cp>Between earlier challenges and this indefinite period of economic freefall and creative frustration, experimental musicians are nearing a breaking point. “When will this end?” Evangelista wonders. “Not knowing is the most troubling thing.”\u003c/p>\n\u003cp>The results of a new Center for New Music survey, shared exclusively with KQED, show 425 respondents working in generally non-commercial styles have already lost an estimated $1.5 million in expected income, a number projected to grow to $4 million if restrictions persist through the summer. Many fear they’ll be forced to incur personal debt (44%) or pursue another career (33%). 20% of the respondents worry the crisis will force them to leave the Bay Area altogether.\u003c/p>\n\u003cfigure id=\"attachment_13878773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C4NM-survey-grab-1.png\" alt=\"An infographic from Center for New Music's survey of local experimental musicians.\" width=\"1920\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-1020x518.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An infographic from Center for New Music’s survey of local experimental musicians. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most respondents to the survey, coordinated with InterMusic SF, Lisa Mezzacappa, \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz in the Neighborhood\u003c/a> and Bird & Beckett Books & Records, earn money as music educators and freelance performers. More than half of the 262 music teachers have lost significant income in the shift to online instruction, and more than half of the 125 teachers affiliated with a school believe they’re ineligible for unemployment benefits. Although the federal aid package expanded unemployment eligibility to independent contractors, Evangelista says some of his freelance musician friends have been denied without explanation. More than half of the self-employed survey respondents are unsure if they have enough documentation of lost wages to apply.\u003c/p>\n\u003cp>“I knew the survey would show fear,” says Miller. “But I was stunned to see more than 5,000 concerts canceled.” Miller also points out that though the respondents perform mostly in San Francisco, many of them live in other parts of the Bay Area. That means they are ineligible for San Francisco’s Arts Relief Program, and there’s no comparable fund from the cities of Berkeley or Oakland.\u003c/p>\n\u003cp>“Many of us were priced out of San Francisco but still do our work there, and now we’re not eligible,” he says. The Center for New Music, meanwhile, is struggling to make up for lost rental and co-working membership income, which it normally relies on to subsidize experimental music programming.\u003c/p>\n\u003cp>Many musicians with abundant time to practice now lack the space. The 34-unit Jack London Rehearsal in Oakland is closed to comply with the prohibition of non-essential businesses; tenants make appointments to retrieve instruments. \u003ca href=\"http://jordanglennmusic.com/\">Jordan Glenn\u003c/a>, an Oakland drummer and composer accustomed to a rotating cast of collaborators, has had about ten gigs and two recording dates canceled. He set up a dampened kit at home to continue giving lessons through the San Francisco Rock Project, but feels creatively constricted in unanticipated ways.\u003c/p>\n\u003cfigure id=\"attachment_13878774\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg\" alt=\"Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space.\" width=\"750\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss-160x213.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space. \u003ccite>(Heike Liss/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Playing with people, all of my commitments, they’re a kind of practice,” he says. “Without that or the space to play without self-consciousness, I’m left with my head games—it’s getting tough.”\u003c/p>\n\u003cp>Oakland Music Complex, the largest rehearsal space in the Bay Area, is leaving artists to assess the safety of visiting the building, and has reduced April rent by half. Tom Ferguson, an Oakland bassist in bands including \u003ca href=\"https://www.kqed.org/arts/13843080/in-new-oakland-can-you-still-smash-a-piano-and-call-it-art\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Staiano\u003c/a>’s avant-rock group Surplus 1980, says half of the 10 people in his space are full-time musicians, and they’re all avoiding the unit. His upcoming tour with songwriter Bill Baird is canceled, along with recording sound engineering dates. He’s also furloughed from his job at Keith McMillen Instruments.\u003c/p>\n\u003cp>“I miss the social aspect,” Ferguson says. “The reason I’m here is to contribute to the community of artists and musicians, so when there’s no gigs and no recording sessions I feel like a fish out of water.”\u003c/p>\n\u003cp>Experimental musicians, like others in the arts, are exploring livestreaming as an imperfect alternative to concerts. Earlier this month Evangelista organized \u003ca href=\"https://www.facebook.com/events/275032363670668/\">Lockdown Festival\u003c/a>, five hours of continuous performances by local musicians in different locations. It featured performers including Marshall Trammell, Scott Amendola and the duo \u003ca href=\"https://www.kqed.org/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light\" target=\"_blank\" rel=\"noopener noreferrer\">Voicehandler\u003c/a>, comprising Jacob Felix Heule and Danishta Rivero Still, Evangelista said he found not all artists have the equipment required to livestream, and there’s little guarantee viewers are willing to pay the equivalent of a door fee to watch from home. Few are eager to embrace live video as an interim solution, let alone the new normal.\u003c/p>\n\u003cp>Still, some small venues are beginning to adapt. \u003ca href=\"https://birdbeckett.com/\">Bird & Beckett\u003c/a> in San Francisco is streaming performances from the closed shop on Facebook while collecting donations. \u003ca href=\"https://proartsgallery.org/\">Pro Arts\u003c/a> in Oakland, a nonprofit gallery that’s absorbed many of the experimental gigs displaced from underground venues in recent years, is similarly developing a livestream studio, and recently issued an open-call for digital media submissions to be shown as online events for a fee that benefits artists. Natalia Mount, director of Pro Arts, also wants the gallery to provide resources in other ways, for instance distributing toiletries.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“For us it’s just another day—we’re always on the precipice of closing,” she says. “So at least we can continue to experiment with the space.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When seven Bay Area counties announced shelter-in-place orders to stop the spread of coronavirus on March 16, concert cancellations cost Oakland guitarist and improviser \u003ca href=\"https://www.karlevangelista.com/\">Karl Evangelista\u003c/a> more than a thousand dollars in expected income. Then came the painful postponement of the San Francisco International Arts Festival. That derailed months of planning to convene an international quartet to perform his multimedia composition \u003cem>Apura\u003c/em> and mark its release on the Astral Spirits label. Evangelista had fronted thousands for flights alone. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Evangelista, a busy member of the Bay Area experimental music scene, feels fortunate to have only been laid off from one of his teaching gigs, and has lately turned his attention to organizing—and trying to monetize—livestreamed performances. But he’s anxious about the disruption’s lasting effects on a community already challenged by Bay Area housing costs and dwindling venues, as well as the emotional toll of isolation and other creative constraints.\u003c/p>\n\u003cp>“Improvised music being collaborative in nature, this is having a severe psychological impact on musicians who are basically unable to create,” Evangelista says.\u003c/p>\n\u003cp>No corner of the local music scene is spared harm, but the pandemic restrictions uniquely threaten independent artists in the experimental, jazz and improvisation community. Many of them live gig-to-gig on teaching, performing and audio engineering opportunities, all of which are diminished. Few derive meaningful income from physical merchandise or streaming. Layoffs are also hitting their day jobs: \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\">arts administration\u003c/a>, \u003ca href=\"https://www.sfchronicle.com/business/article/Mass-layoffs-at-Yelp-Eventbrite-show-15190391.php#\">music technology\u003c/a>, \u003ca href=\"https://www.kqed.org/bayareabites/136828/bay-area-organizations-helping-the-local-food-industry\">food service\u003c/a>, \u003ca href=\"https://twitter.com/lefebvre_sam/status/1247592353738575872\">record stores\u003c/a>.\u003c/p>\n\u003cp>“There isn’t the audience to graduate your career like in some genres,” Brent Miller, composer and co-founder of the San Francisco venue \u003ca href=\"https://centerfornewmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for New Music,\u003c/a> explains. “There’s no clear path.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, the congregating and collaboration that usually justifies the struggle is outlawed.\u003c/p>\n\u003cp>Between earlier challenges and this indefinite period of economic freefall and creative frustration, experimental musicians are nearing a breaking point. “When will this end?” Evangelista wonders. “Not knowing is the most troubling thing.”\u003c/p>\n\u003cp>The results of a new Center for New Music survey, shared exclusively with KQED, show 425 respondents working in generally non-commercial styles have already lost an estimated $1.5 million in expected income, a number projected to grow to $4 million if restrictions persist through the summer. Many fear they’ll be forced to incur personal debt (44%) or pursue another career (33%). 20% of the respondents worry the crisis will force them to leave the Bay Area altogether.\u003c/p>\n\u003cfigure id=\"attachment_13878773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/C4NM-survey-grab-1.png\" alt=\"An infographic from Center for New Music's survey of local experimental musicians.\" width=\"1920\" height=\"975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-160x81.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-800x406.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-768x390.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/C4NM-survey-grab-1-1020x518.png 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">An infographic from Center for New Music’s survey of local experimental musicians. \u003ccite>(Center for New Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most respondents to the survey, coordinated with InterMusic SF, Lisa Mezzacappa, \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Jazz in the Neighborhood\u003c/a> and Bird & Beckett Books & Records, earn money as music educators and freelance performers. More than half of the 262 music teachers have lost significant income in the shift to online instruction, and more than half of the 125 teachers affiliated with a school believe they’re ineligible for unemployment benefits. Although the federal aid package expanded unemployment eligibility to independent contractors, Evangelista says some of his freelance musician friends have been denied without explanation. More than half of the self-employed survey respondents are unsure if they have enough documentation of lost wages to apply.\u003c/p>\n\u003cp>“I knew the survey would show fear,” says Miller. “But I was stunned to see more than 5,000 concerts canceled.” Miller also points out that though the respondents perform mostly in San Francisco, many of them live in other parts of the Bay Area. That means they are ineligible for San Francisco’s Arts Relief Program, and there’s no comparable fund from the cities of Berkeley or Oakland.\u003c/p>\n\u003cp>“Many of us were priced out of San Francisco but still do our work there, and now we’re not eligible,” he says. The Center for New Music, meanwhile, is struggling to make up for lost rental and co-working membership income, which it normally relies on to subsidize experimental music programming.\u003c/p>\n\u003cp>Many musicians with abundant time to practice now lack the space. The 34-unit Jack London Rehearsal in Oakland is closed to comply with the prohibition of non-essential businesses; tenants make appointments to retrieve instruments. \u003ca href=\"http://jordanglennmusic.com/\">Jordan Glenn\u003c/a>, an Oakland drummer and composer accustomed to a rotating cast of collaborators, has had about ten gigs and two recording dates canceled. He set up a dampened kit at home to continue giving lessons through the San Francisco Rock Project, but feels creatively constricted in unanticipated ways.\u003c/p>\n\u003cfigure id=\"attachment_13878774\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg\" alt=\"Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space.\" width=\"750\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/PicbyHeikeLiss-160x213.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Drummer Jordan Glenn is unable to practice in his Oakland rehearsal space. \u003ccite>(Heike Liss/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Playing with people, all of my commitments, they’re a kind of practice,” he says. “Without that or the space to play without self-consciousness, I’m left with my head games—it’s getting tough.”\u003c/p>\n\u003cp>Oakland Music Complex, the largest rehearsal space in the Bay Area, is leaving artists to assess the safety of visiting the building, and has reduced April rent by half. Tom Ferguson, an Oakland bassist in bands including \u003ca href=\"https://www.kqed.org/arts/13843080/in-new-oakland-can-you-still-smash-a-piano-and-call-it-art\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Staiano\u003c/a>’s avant-rock group Surplus 1980, says half of the 10 people in his space are full-time musicians, and they’re all avoiding the unit. His upcoming tour with songwriter Bill Baird is canceled, along with recording sound engineering dates. He’s also furloughed from his job at Keith McMillen Instruments.\u003c/p>\n\u003cp>“I miss the social aspect,” Ferguson says. “The reason I’m here is to contribute to the community of artists and musicians, so when there’s no gigs and no recording sessions I feel like a fish out of water.”\u003c/p>\n\u003cp>Experimental musicians, like others in the arts, are exploring livestreaming as an imperfect alternative to concerts. Earlier this month Evangelista organized \u003ca href=\"https://www.facebook.com/events/275032363670668/\">Lockdown Festival\u003c/a>, five hours of continuous performances by local musicians in different locations. It featured performers including Marshall Trammell, Scott Amendola and the duo \u003ca href=\"https://www.kqed.org/arts/13846432/the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light\" target=\"_blank\" rel=\"noopener noreferrer\">Voicehandler\u003c/a>, comprising Jacob Felix Heule and Danishta Rivero Still, Evangelista said he found not all artists have the equipment required to livestream, and there’s little guarantee viewers are willing to pay the equivalent of a door fee to watch from home. Few are eager to embrace live video as an interim solution, let alone the new normal.\u003c/p>\n\u003cp>Still, some small venues are beginning to adapt. \u003ca href=\"https://birdbeckett.com/\">Bird & Beckett\u003c/a> in San Francisco is streaming performances from the closed shop on Facebook while collecting donations. \u003ca href=\"https://proartsgallery.org/\">Pro Arts\u003c/a> in Oakland, a nonprofit gallery that’s absorbed many of the experimental gigs displaced from underground venues in recent years, is similarly developing a livestream studio, and recently issued an open-call for digital media submissions to be shown as online events for a fee that benefits artists. Natalia Mount, director of Pro Arts, also wants the gallery to provide resources in other ways, for instance distributing toiletries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of the effects of the coronavirus crisis has been widespread grassroots organizing, be it among restaurant staff, health care workers or supermarket employees. And few people know about the highs and lows of grassroots movements quite like Aaron Cometbus. He’s the creator of the zine \u003cem>Cometbus\u003c/em>, which has chronicled punkhouses, squats, collectives and the like for the past four decades.\u003c/p>\n\u003cp>Aaron’s latest issue is titled “Post-Mortem.” Its goal? To provide an autopsy on various underground movements: what went wrong, and what went right.\u003c/p>\n\u003cp>Aaron starts his series of interviews in the offices of Epitaph Records, who brought punk to the masses with the Offspring in the mid-1990s, then weaves his way through volunteer bookstores in San Francisco, independent publishers in Seattle, warehouses in New York and an art school in Vermont. (Aaron springs from the East Bay punk scene, and local institutions like Fat Wreck Chords and Thrasher magazine face his line of questioning, too.)\u003c/p>\n\u003cp>Along the way, an unflinching examination unfolds of financial irresponsibilities, reckless sexual liasons, getting harassed by police – and in Aaron’s storytelling, it’s sometimes hard to tell if these are liabilities or assets. Still, he delivers just as many inspiring success stories as he does sad eulogies, and paints DIY not as a relic of the past but as an ongoing continuum.\u003c/p>\n\u003cp>During the shutdown, reading Cometbus #59—with so much real-life, in-person action—is a hopeful reminder of what we’ll be getting back to someday. With bookstores and record stores closed, you’ll have to find \u003cem>Cometbus\u003c/em> #59 \u003ca href=\"https://store.silversprocket.net/products/cometbus-59-post-mortem-by-aaron-cometbus\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the effects of the coronavirus crisis has been widespread grassroots organizing, be it among restaurant staff, health care workers or supermarket employees. And few people know about the highs and lows of grassroots movements quite like Aaron Cometbus. He’s the creator of the zine \u003cem>Cometbus\u003c/em>, which has chronicled punkhouses, squats, collectives and the like for the past four decades.\u003c/p>\n\u003cp>Aaron’s latest issue is titled “Post-Mortem.” Its goal? To provide an autopsy on various underground movements: what went wrong, and what went right.\u003c/p>\n\u003cp>Aaron starts his series of interviews in the offices of Epitaph Records, who brought punk to the masses with the Offspring in the mid-1990s, then weaves his way through volunteer bookstores in San Francisco, independent publishers in Seattle, warehouses in New York and an art school in Vermont. (Aaron springs from the East Bay punk scene, and local institutions like Fat Wreck Chords and Thrasher magazine face his line of questioning, too.)\u003c/p>\n\u003cp>Along the way, an unflinching examination unfolds of financial irresponsibilities, reckless sexual liasons, getting harassed by police – and in Aaron’s storytelling, it’s sometimes hard to tell if these are liabilities or assets. Still, he delivers just as many inspiring success stories as he does sad eulogies, and paints DIY not as a relic of the past but as an ongoing continuum.\u003c/p>\n\u003cp>During the shutdown, reading Cometbus #59—with so much real-life, in-person action—is a hopeful reminder of what we’ll be getting back to someday. With bookstores and record stores closed, you’ll have to find \u003cem>Cometbus\u003c/em> #59 \u003ca href=\"https://store.silversprocket.net/products/cometbus-59-post-mortem-by-aaron-cometbus\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The day shelter-in-place orders came down in the Bay Area, \u003ca href=\"https://kevchoice.wordpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a> was in the studio with soul singer and Afro-house producer \u003ca href=\"https://jenniferjohnsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Johns\u003c/a>. They were laying down a track that would later become part of his \u003cem>Social Distancing\u003c/em> album, “Can’t Stop Me,” where jazz piano flutters over congas. Between Choice’s verses, Johns’ resonant voice reminds us that “I’ma still sing my song / I’ma still shine my light,” even during a tragedy.\u003c/p>\n\u003cp>Once the two friends realized this might be the last time they would see each for a while, they rushed to get the vocals done before the stroke of midnight—so Johns could drive home before the order officially took effect. Choice remembers anxiety starting to set in. “I just put her in the booth and said, ‘Sing what you feel right now,’” says the rapper, producer and multi-instrumentalist. “That was the first song I started creating with this [situation] in mind.”\u003c/p>\n\u003cp>“I think it was a lot of racing against the unknown,” Johns recalls. When Choice began to play the chords on his piano, her mind settled. [aside postid='arts_13878306']\u003c/p>\n\u003cp>“We had been talking about being resilient,” she says. “We share a spiritual perspective and a spiritual practice, so [we both believe in] the importance of saying out loud the power that we live with, the power that we are, comes from inside of us … even if the human part of ourselves isn’t quite sold on the idea.”\u003c/p>\n\u003cp>In the days that followed, Choice took his studio equipment home and quickly got to work on an album he envisions as a real-time dispatch from the COVID-19 pandemic. What started as a five-track EP grew into 12 songs that feature over two dozen collaborators—jazz musicians, rappers and producers, all recording remotely in their home studios.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1994259696/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>Enveloped in the warm tones of live jazz, funk and soul instrumentation, the nuanced hip-hop project gives voice to anger at government inaction, grief for loss of life and frustrations at adapting to a stifling new normal. Yet an uplifting message floats through \u003cem>Social Distancing\u003c/em>, carried by Choice’s buoyant rapping and piano playing. He doesn’t offer a false sense of hope, but rather a realist perspective ultimately grounded in his faith in the strength of the human spirit.\u003c/p>\n\u003cp>“Growing up in Oakland, we’ve had adversity from so many different angles. We’re ready for whatever fight we have to get into whether that’s oppression, poverty or a disease,” Choice says. “You have to have optimism in those situations when you’re fighting something that seems impossible to overcome.”\u003c/p>\n\u003cp>https://youtu.be/ug4tefu-SCg\u003c/p>\n\u003cp>A classically trained pianist immersed in many of the Bay Area’s different live music scenes, Choice has omnivorous tastes. \u003cem>Social Distancing\u003c/em> puts his jazz band Black London in dialogue with rapper-activist \u003ca href=\"https://www.eastbayexpress.com/oakland/how-rap-legend-mistah-fab-moved-past-his-hyphy-roots-to-become-unofficial-mayor-of-north-oakland/Content?oid=4806986\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>, Lalin St. Juste of indie pop bad The Seshen, Karega Bailey from \u003ca href=\"https://www.kqed.org/arts/13829305/sol-development-the-black-experience-and-hip-hop-as-healing\" target=\"_blank\" rel=\"noopener noreferrer\">Sol Development\u003c/a> and rising producer and bassist \u003ca href=\"https://www.kqed.org/arts/13811320/behind-the-beats-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>, among many others. Together, they take stock of the foreign emotional landscape all of us are now navigating as the world slows its pace, and we are asked to hold the paradox of retreating into the stillness of our homes (if we’re lucky enough to have them) while an invisible chaos looms outside.\u003c/p>\n\u003cp>“What we thought was important is not important—the likes, the money or the jewelry, none of that is important, all of them are disposable,” says Mistah F.A.B. His verse on the gospel-tinged “Silver Lining” flows with gratitude for quality conversations with his daughter and more time to perfect his crafts. “What’s really important is family, love and peaceful vibes, establishing a peace of mind. If you can master peace then you can create a masterpiece.” [aside postid='arts_13877358']\u003c/p>\n\u003cp>Choice says his perspective is informed by his spiritual community, the Oakland Center for Spiritual Living, which emphasizes meditation and personal development as a means of changing the world. But in the moments when \u003cem>Social Distancing\u003c/em> delves into worldly matters, he’s not afraid to lay blame on those in charge—specifically President Trump—for downplaying the epidemic and not doing enough to bolster the healthcare system and social safety nets. With communities of color being hit by the pandemic the hardest, he also draws connecting threads to the United States’ history of exploitation and genocide.\u003c/p>\n\u003cp>“For us to not have a better response, a better plan—economically and for those who are on the front lines in the medical field—to me is a travesty. And people are dying because of it,” Choice says.\u003c/p>\n\u003cp>Ultimately, \u003cem>Social Distancing\u003c/em> ends on a resolute note. The final track is called “The Vaccine,” but instead of prescribing a solution, Choice gives the listener space to process. It’s an instrumental with Black London, and Howard Wiley’s saxophone, at times tense and at times soothing, rocks the listener into a contemplative reverie.\u003c/p>\n\u003cp>“Music is a healer, it’s a cure, it inspires us. I know doctors who are having super hard days, nurses, people on the front lines,” Choice says. “Hopefully they can listen to this at home and have some sort of consolation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We had been talking about being resilient,” she says. “We share a spiritual perspective and a spiritual practice, so [we both believe in] the importance of saying out loud the power that we live with, the power that we are, comes from inside of us … even if the human part of ourselves isn’t quite sold on the idea.”\u003c/p>\n\u003cp>In the days that followed, Choice took his studio equipment home and quickly got to work on an album he envisions as a real-time dispatch from the COVID-19 pandemic. What started as a five-track EP grew into 12 songs that feature over two dozen collaborators—jazz musicians, rappers and producers, all recording remotely in their home studios.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1994259696/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>Enveloped in the warm tones of live jazz, funk and soul instrumentation, the nuanced hip-hop project gives voice to anger at government inaction, grief for loss of life and frustrations at adapting to a stifling new normal. Yet an uplifting message floats through \u003cem>Social Distancing\u003c/em>, carried by Choice’s buoyant rapping and piano playing. He doesn’t offer a false sense of hope, but rather a realist perspective ultimately grounded in his faith in the strength of the human spirit.\u003c/p>\n\u003cp>“Growing up in Oakland, we’ve had adversity from so many different angles. We’re ready for whatever fight we have to get into whether that’s oppression, poverty or a disease,” Choice says. “You have to have optimism in those situations when you’re fighting something that seems impossible to overcome.”\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/ug4tefu-SCg'\n title='//www.youtube.com/embed/ug4tefu-SCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A classically trained pianist immersed in many of the Bay Area’s different live music scenes, Choice has omnivorous tastes. \u003cem>Social Distancing\u003c/em> puts his jazz band Black London in dialogue with rapper-activist \u003ca href=\"https://www.eastbayexpress.com/oakland/how-rap-legend-mistah-fab-moved-past-his-hyphy-roots-to-become-unofficial-mayor-of-north-oakland/Content?oid=4806986\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>, Lalin St. Juste of indie pop bad The Seshen, Karega Bailey from \u003ca href=\"https://www.kqed.org/arts/13829305/sol-development-the-black-experience-and-hip-hop-as-healing\" target=\"_blank\" rel=\"noopener noreferrer\">Sol Development\u003c/a> and rising producer and bassist \u003ca href=\"https://www.kqed.org/arts/13811320/behind-the-beats-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>, among many others. Together, they take stock of the foreign emotional landscape all of us are now navigating as the world slows its pace, and we are asked to hold the paradox of retreating into the stillness of our homes (if we’re lucky enough to have them) while an invisible chaos looms outside.\u003c/p>\n\u003cp>“What we thought was important is not important—the likes, the money or the jewelry, none of that is important, all of them are disposable,” says Mistah F.A.B. His verse on the gospel-tinged “Silver Lining” flows with gratitude for quality conversations with his daughter and more time to perfect his crafts. “What’s really important is family, love and peaceful vibes, establishing a peace of mind. If you can master peace then you can create a masterpiece.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Choice says his perspective is informed by his spiritual community, the Oakland Center for Spiritual Living, which emphasizes meditation and personal development as a means of changing the world. But in the moments when \u003cem>Social Distancing\u003c/em> delves into worldly matters, he’s not afraid to lay blame on those in charge—specifically President Trump—for downplaying the epidemic and not doing enough to bolster the healthcare system and social safety nets. With communities of color being hit by the pandemic the hardest, he also draws connecting threads to the United States’ history of exploitation and genocide.\u003c/p>\n\u003cp>“For us to not have a better response, a better plan—economically and for those who are on the front lines in the medical field—to me is a travesty. And people are dying because of it,” Choice says.\u003c/p>\n\u003cp>Ultimately, \u003cem>Social Distancing\u003c/em> ends on a resolute note. The final track is called “The Vaccine,” but instead of prescribing a solution, Choice gives the listener space to process. It’s an instrumental with Black London, and Howard Wiley’s saxophone, at times tense and at times soothing, rocks the listener into a contemplative reverie.\u003c/p>\n\u003cp>“Music is a healer, it’s a cure, it inspires us. I know doctors who are having super hard days, nurses, people on the front lines,” Choice says. “Hopefully they can listen to this at home and have some sort of consolation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Shelter-in-place has slowed down or eliminated work for a lot of folks in the nightlife and entertainment industries, but not radio host, Durell “DC” Coleman.\u003c/p>\n\u003cp>He’s a host on the San Francisco-Bay Area’s 106.1 KMEL airwaves from 6am to 2pm every single day, as well as the \u003cspan style=\"font-weight: 400\">\u003cem>Damn It’s Late Show\u003c/em> overnight on Fridays. Plus he works for Sacramento’s V101 on the weekends. DC is behind the microphone around 40 hours a week and has a finger on the pulse of the entertainment industry in Northern California, and beyond. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because he’s a member of the media who issues coronavirus updates to listeners, he’s considered an essential worker– which means he gets up and goes to the studio just about every day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">DC, an Oakland native, is also an investor in the recently opened Caribbean restaurant and bar, \u003ca href=\"https://www.kqed.org/bayareabites/136410/sobre-mesa-brings-afro-caribbean-cocktails-and-light-bites-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Sobre Mesa\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hell of a time to open a new venue, eh?\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13876065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533-800x533.jpg\" alt=\"German Nelson's cocktail-forward lounge Sobre Mesa, over the table in Spanish, invites patrons to stay a while. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">German Nelson’s cocktail-forward lounge Sobre Mesa, over the table in Spanish, invites patrons to stay a while. \u003ccite>(Courtesy of Sobre Mesa/Thomas Kuoh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But DC isn’t worried. He says Sobre Mesa is still doing deliveries and pick-up service through its sister restaurant, \u003ca href=\"https://www.alamaroakland.com/menus\" target=\"_blank\" rel=\"noopener noreferrer\">alaMar\u003c/a>. And when life returns back to “normal,” they’ll have another grand opening.\u003c/p>\n\u003cp>Until then, DC is keeping busy at the radio station, and keeping a tab on the arts and culture scene in northern California. That’s what we discuss on this week’s episode of Rightnowish.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shelter-in-place has slowed down or eliminated work for a lot of folks in the nightlife and entertainment industries, but not radio host, Durell “DC” Coleman.\u003c/p>\n\u003cp>He’s a host on the San Francisco-Bay Area’s 106.1 KMEL airwaves from 6am to 2pm every single day, as well as the \u003cspan style=\"font-weight: 400\">\u003cem>Damn It’s Late Show\u003c/em> overnight on Fridays. Plus he works for Sacramento’s V101 on the weekends. DC is behind the microphone around 40 hours a week and has a finger on the pulse of the entertainment industry in Northern California, and beyond. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Because he’s a member of the media who issues coronavirus updates to listeners, he’s considered an essential worker– which means he gets up and goes to the studio just about every day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">DC, an Oakland native, is also an investor in the recently opened Caribbean restaurant and bar, \u003ca href=\"https://www.kqed.org/bayareabites/136410/sobre-mesa-brings-afro-caribbean-cocktails-and-light-bites-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Sobre Mesa\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hell of a time to open a new venue, eh?\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13876065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533-800x533.jpg\" alt=\"German Nelson's cocktail-forward lounge Sobre Mesa, over the table in Spanish, invites patrons to stay a while. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/SobreMesa_Bar_Straight_Thomas-Kuoh-Photography-800x533-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">German Nelson’s cocktail-forward lounge Sobre Mesa, over the table in Spanish, invites patrons to stay a while. \u003ccite>(Courtesy of Sobre Mesa/Thomas Kuoh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But DC isn’t worried. He says Sobre Mesa is still doing deliveries and pick-up service through its sister restaurant, \u003ca href=\"https://www.alamaroakland.com/menus\" target=\"_blank\" rel=\"noopener noreferrer\">alaMar\u003c/a>. And when life returns back to “normal,” they’ll have another grand opening.\u003c/p>\n\u003cp>Until then, DC is keeping busy at the radio station, and keeping a tab on the arts and culture scene in northern California. That’s what we discuss on this week’s episode of Rightnowish.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003ch2>1.\u003c/h2>\n\u003cp>I was 24 when I first met John Prine. \u003c/p>\n\u003cp>He’d been on stage earlier that night, and a group of fans had gathered by the stage door. John talked to each and every one, including me, as I stuttered out a your-music-has-gotten-me-through-some-hard-times speech that he’d surely heard a hundred times before. In the process, I recited \u003ca href=\"https://www.youtube.com/watch?v=4iyyhnNIKe4\" rel=\"noopener noreferrer\" target=\"_blank\">some of his own lyrics\u003c/a> back to him that had helped, and that he’d surely sung thousands of times:\u003c/p>\n\u003cp>\u003cem>You can gaze out your window, get mad and get madder\u003c/em>\u003cbr>\n\u003cem>Throw your hands in the air, say ‘what does it matter’\u003c/em>\u003cbr>\n\u003cem>But it don’t do no good to get angry, so help me, I know\u003c/em>\u003c/p>\n\u003cp>He was gracious about it, of course. For a guy whose songs involved so many small things—old pawn shops, frozen bathtub water, being scared of bees—it was the big-question songs that people always wanted to quote to him. The ones about age, memory, death. “Hello in There.” “Souvenirs.” “Angel From Montgomery.”\u003c/p>\n\u003cp>But in time, I grew to understand Prine’s focus on the little things. It’s a tool that songwriters talk about often: show, don’t tell. As I got older, I understood that “A heart stained in anger grows weak and grows bitter” was powerful, sure, but no more powerful than “There was four Italian sausages cooking on the outdoor grill, and man, they were \u003cem>ssssssssizzlin’\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>2.\u003c/h2>\n\u003cp>Somewhere in the middle of those two opposites in John Prine’s music, the big stuff and the small details, lay “\u003ca href=\"https://www.youtube.com/watch?v=vXqWdF0L4F4\" rel=\"noopener noreferrer\" target=\"_blank\">The Late John Garfield Blues\u003c/a>.” When I lived alone, subsisting on ramen and scotch in a tiny downtown apartment, I gravitated to the song. Prine sang of everyday things like broken lamppost bulbs and fish that don’t bite, and in the middle, the big life revelations:\u003c/p>\n\u003cp>\u003cem>Old man sleeps with his conscience at night, young kid sleeps with his dreams\u003c/em>\u003cbr>\n\u003cem>While the mentally ill sit perfectly still and live through life’s in-betweens\u003c/em>\u003c/p>\n\u003cp>I’d play it over and over on my guitar, and sing the words, meditating on my condition. Was I veering toward mental illness? Was I just lonesome? Was there a difference? And why John Garfield, of all people?\u003c/p>\n\u003cp>Fast-forward a few years and I’m on the phone with Kris Kristofferson. He \u003ca href=\"https://www.youtube.com/watch?v=WJwToR_Nokw\" rel=\"noopener noreferrer\" target=\"_blank\">covered\u003c/a> “The Late John Garfield Blues” a few times, so I asked him what the song was about. “Oh, I’ll tell you a funny story about that song,” he said.\u003c/p>\n\u003cp>Kristofferson told me that when he was living at Rita Coolidge’s place in Hollywood, he bought Prine’s latest album \u003cem>Diamonds in the Rough\u003c/em> one day and was playing it on the turntable. “And it got to that song, and it kept stopping in that song! I said ‘What the hell’s wrong with this thing?’” Kristofferson said.\u003c/p>\n\u003cp>“And we looked at the title, ‘The Late John Garfield Blues,’ and Rita said, ‘My God. \u003cem>This\u003c/em> was John Garfield’s house!’ There we were in John Garfield’s old house, and the record stopped twice to call our attention to it.”\u003c/p>\n\u003cp>A mysterious happening for an even more mysterious tune. “As to what it’s about?” Kristofferson added. “God, I don’t know. But I love the song.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vXqWdF0L4F4\u003c/p>\n\u003ch2>3.\u003c/h2>\n\u003cp>I saw John Prine five or six times. I watched him sing “Angel From Montgomery” with Bonnie Raitt, “Paradise” with Todd Snider, “In Spite of Ourselves” with Iris Dement. That last one was special: he’d just beaten throat cancer, and had a hit comeback with \u003cem>In Spite of Ourselves\u003c/em>, an album of duets about cheating and infidelity. \u003c/p>\n\u003cp>At every show I saw, Prine was showered with adoration, and not just from the fans. Once, at a songwriters-in-the-round benefit with Emmylou Harris, Steve Earle, Bruce Cockburn and Nanci Griffith, I witnessed the obvious reverence they all had for Prine when he sang. \u003c/p>\n\u003cp>His songs were covered by classic country singers like Johnny Cash, new country singers like Miranda Lambert, and rock bands like R.E.M. It was proof that his songs crossed generations, genres, and borders. (Imagine what a rap producer could do with the line “You know what blood looks like in a black and white video? / Shadows / \u003cem>Shhhhhhadows!\u003c/em>”)\u003c/p>\n\u003cp>Once, at the Hardly Strictly Bluegrass festival in Golden Gate Park, I climbed a tree to catch a glimpse of Prine’s set. From my perch, I could see the meadow overflowing with people, spilling into the bushes, over the fences, and high up on any hill that would provide a view. It was an incredible sight. \u003c/p>\n\u003cp>He was loved that much.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>4.\u003c/h2>\n\u003cp>At the record store, I ran into some musician friends, Henry and Brian. “Hey,” I suggested, “John Prine’s not gonna live forever. What say we put together a set of his songs so we can play a tribute show for him when he dies?”\u003c/p>\n\u003cp>“Why wait until he dies?” Henry replied.\u003c/p>\n\u003cp>And so last year, we started rehearsing together, once a week, in Henry’s living room. We didn’t have to practice too hard; the songs ran in our blood. “Illegal Smile.” “Fish and Whistle.” “The Great Compromise.” \u003c/p>\n\u003cp>In every corner of Prine’s catalog, we found unexpected riches beyond the well-known hits. “Grandpa Was a Carpenter,” an ode to ancestry and the simple life. “Clocks and Spoons,” a sweet lullaby. “Sabu Visits the Twin Cities Alone,” a quirky story about a child actor and his manager. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’d play and sing, dissect the songs, tell stories about how they related to various phases of our lives, and ask ourselves things like, “Is there anything more heartbreaking than ‘\u003ca href=\"https://www.youtube.com/watch?v=_ujOTP8oPpY\" rel=\"noopener noreferrer\" target=\"_blank\">Far From Me\u003c/a>?’”:\u003c/p>\n\u003cp>\u003cem>Why we used to laugh together, and we’d dance to any old song\u003c/em>\u003cbr>\n\u003cem>Well you know, she still laughs with me, but she waits just a second too long\u003c/em>\u003c/p>\n\u003cp>We worked up over 20 of his songs, and were ready for the big tribute show. And wouldn’t you know it, right when John Prine died, we weren’t allowed to perform them, by law. I can just imagine him looking down at us and laughing, and saying: \u003cem>that’s the way the world goes ’round.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13824006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24.jpg 909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>5.\u003c/h2>\n\u003cp>John Prine called my house one morning a few years back. We talked for 15 minutes, a typical phone interview to promote a concert in town. He’d just put out \u003cem>The Tree of Forgiveness\u003c/em>, his final album.\u003c/p>\n\u003cp>“I think everybody needs a little forgiveness,” Prine told me. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>I didn’t think to ask what he needed to forgive himself for. Instead, we talked about things that excited him: reading newspapers, meeting younger fans, buying old cars on eBay late at night. \u003c/p>\n\u003cp>He was excited, too, that the United States had term limits, and the fact that Trump “can’t be in there for more than eight years,” he said, adding, “I’m hoping he’s out of there in four.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>6.\u003c/h2>\n\u003cp>On Tuesday, I was reading that Trump \u003ca href=\"https://www.washingtonpost.com/national-security/trump-removes-inspector-general-who-was-to-oversee-2-trillion-stimulus-spending/2020/04/07/2f0c6cb8-78ea-11ea-9bee-c5bf9d2e3288_story.html\" rel=\"noopener noreferrer\" target=\"_blank\">fired the inspector general assigned to oversee the $2.2 trillion coronavirus relief bill\u003c/a>, and thinking about words like dictatorship and kleptocracy, as one does these days. And then I saw that Prine had died. \u003c/p>\n\u003cp>I walked around my neighborhood in a daze. I knew it was coming, but the cause and the timing angered me. Prine died from the coronavirus, which Trump \u003ca href=\"https://www.washingtonpost.com/politics/2020/03/12/trump-coronavirus-timeline/\" rel=\"noopener noreferrer\" target=\"_blank\">spectacularly downplayed\u003c/a> for months, delaying preventative, life-saving measures. Now, as news of Prine’s death arrived, the president was ridding the government of those seen as disloyal, and effectively securing a blank checkbook for himself. It was all too much: the ascendancy of corruption and the death of good.\u003c/p>\n\u003cp>For comfort, I started singing “\u003ca href=\"https://www.youtube.com/watch?v=kJ7sc9Cbuiw\" rel=\"noopener noreferrer\" target=\"_blank\">Souvenirs\u003c/a>,” blending it with “\u003ca href=\"https://www.youtube.com/watch?v=OLVWEYUqGew\" rel=\"noopener noreferrer\" target=\"_blank\">Sam Stone\u003c/a>”—with the line “sweet songs never last too long on broken radios.” But I could only think about how our radio is broken, and how John Prine was the sweetest song of all.\u003c/p>\n\u003cp>Then I tried singing “\u003ca href=\"https://www.youtube.com/watch?v=nmgYCI3OWw4\" rel=\"noopener noreferrer\" target=\"_blank\">Please Don’t Bury Me\u003c/a>,” one of Prine’s many songs about dying, with the part about giving his ears to the deaf “if they don’t mind the size.” A funny line, but I couldn’t bring myself to laugh. \u003c/p>\n\u003cp>But then something else happened as I walked around. I noticed the small things, for a change. I poked my head inside a ’73 Volkswagen bug and studied the dashboard. I passed a few cats sitting in driveways, regal and unwilling to be pet. I examined the bark of a magnolia tree, which I’d never considered before. I watched a few people outside the old folks’ home, sitting on the bench talking, like they always do.\u003c/p>\n\u003cp>I breathed a little easier. It was the quilt of little things that make up a life.\u003c/p>\n\u003cp>It all felt like a John Prine song. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>1.\u003c/h2>\n\u003cp>I was 24 when I first met John Prine. \u003c/p>\n\u003cp>He’d been on stage earlier that night, and a group of fans had gathered by the stage door. John talked to each and every one, including me, as I stuttered out a your-music-has-gotten-me-through-some-hard-times speech that he’d surely heard a hundred times before. In the process, I recited \u003ca href=\"https://www.youtube.com/watch?v=4iyyhnNIKe4\" rel=\"noopener noreferrer\" target=\"_blank\">some of his own lyrics\u003c/a> back to him that had helped, and that he’d surely sung thousands of times:\u003c/p>\n\u003cp>\u003cem>You can gaze out your window, get mad and get madder\u003c/em>\u003cbr>\n\u003cem>Throw your hands in the air, say ‘what does it matter’\u003c/em>\u003cbr>\n\u003cem>But it don’t do no good to get angry, so help me, I know\u003c/em>\u003c/p>\n\u003cp>He was gracious about it, of course. For a guy whose songs involved so many small things—old pawn shops, frozen bathtub water, being scared of bees—it was the big-question songs that people always wanted to quote to him. The ones about age, memory, death. “Hello in There.” “Souvenirs.” “Angel From Montgomery.”\u003c/p>\n\u003cp>But in time, I grew to understand Prine’s focus on the little things. It’s a tool that songwriters talk about often: show, don’t tell. As I got older, I understood that “A heart stained in anger grows weak and grows bitter” was powerful, sure, but no more powerful than “There was four Italian sausages cooking on the outdoor grill, and man, they were \u003cem>ssssssssizzlin’\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.BruisedCover.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>2.\u003c/h2>\n\u003cp>Somewhere in the middle of those two opposites in John Prine’s music, the big stuff and the small details, lay “\u003ca href=\"https://www.youtube.com/watch?v=vXqWdF0L4F4\" rel=\"noopener noreferrer\" target=\"_blank\">The Late John Garfield Blues\u003c/a>.” When I lived alone, subsisting on ramen and scotch in a tiny downtown apartment, I gravitated to the song. Prine sang of everyday things like broken lamppost bulbs and fish that don’t bite, and in the middle, the big life revelations:\u003c/p>\n\u003cp>\u003cem>Old man sleeps with his conscience at night, young kid sleeps with his dreams\u003c/em>\u003cbr>\n\u003cem>While the mentally ill sit perfectly still and live through life’s in-betweens\u003c/em>\u003c/p>\n\u003cp>I’d play it over and over on my guitar, and sing the words, meditating on my condition. Was I veering toward mental illness? Was I just lonesome? Was there a difference? And why John Garfield, of all people?\u003c/p>\n\u003cp>Fast-forward a few years and I’m on the phone with Kris Kristofferson. He \u003ca href=\"https://www.youtube.com/watch?v=WJwToR_Nokw\" rel=\"noopener noreferrer\" target=\"_blank\">covered\u003c/a> “The Late John Garfield Blues” a few times, so I asked him what the song was about. “Oh, I’ll tell you a funny story about that song,” he said.\u003c/p>\n\u003cp>Kristofferson told me that when he was living at Rita Coolidge’s place in Hollywood, he bought Prine’s latest album \u003cem>Diamonds in the Rough\u003c/em> one day and was playing it on the turntable. “And it got to that song, and it kept stopping in that song! I said ‘What the hell’s wrong with this thing?’” Kristofferson said.\u003c/p>\n\u003cp>“And we looked at the title, ‘The Late John Garfield Blues,’ and Rita said, ‘My God. \u003cem>This\u003c/em> was John Garfield’s house!’ There we were in John Garfield’s old house, and the record stopped twice to call our attention to it.”\u003c/p>\n\u003cp>A mysterious happening for an even more mysterious tune. “As to what it’s about?” Kristofferson added. “God, I don’t know. But I love the song.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vXqWdF0L4F4'\n title='//www.youtube.com/embed/vXqWdF0L4F4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3.\u003c/h2>\n\u003cp>I saw John Prine five or six times. I watched him sing “Angel From Montgomery” with Bonnie Raitt, “Paradise” with Todd Snider, “In Spite of Ourselves” with Iris Dement. That last one was special: he’d just beaten throat cancer, and had a hit comeback with \u003cem>In Spite of Ourselves\u003c/em>, an album of duets about cheating and infidelity. \u003c/p>\n\u003cp>At every show I saw, Prine was showered with adoration, and not just from the fans. Once, at a songwriters-in-the-round benefit with Emmylou Harris, Steve Earle, Bruce Cockburn and Nanci Griffith, I witnessed the obvious reverence they all had for Prine when he sang. \u003c/p>\n\u003cp>His songs were covered by classic country singers like Johnny Cash, new country singers like Miranda Lambert, and rock bands like R.E.M. It was proof that his songs crossed generations, genres, and borders. (Imagine what a rap producer could do with the line “You know what blood looks like in a black and white video? / Shadows / \u003cem>Shhhhhhadows!\u003c/em>”)\u003c/p>\n\u003cp>Once, at the Hardly Strictly Bluegrass festival in Golden Gate Park, I climbed a tree to catch a glimpse of Prine’s set. From my perch, I could see the meadow overflowing with people, spilling into the bushes, over the fences, and high up on any hill that would provide a view. It was an incredible sight. \u003c/p>\n\u003cp>He was loved that much.\u003c/p>\n\u003cfigure id=\"attachment_13878314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg\" alt=\"(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.Raitt_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Bonnie Raitt and John Prine perform onstage at the Ryman Auditorium in Nashville on September 11, 2019. \u003ccite>(Terry Wyatt/Getty Images for Americana Music Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>4.\u003c/h2>\n\u003cp>At the record store, I ran into some musician friends, Henry and Brian. “Hey,” I suggested, “John Prine’s not gonna live forever. What say we put together a set of his songs so we can play a tribute show for him when he dies?”\u003c/p>\n\u003cp>“Why wait until he dies?” Henry replied.\u003c/p>\n\u003cp>And so last year, we started rehearsing together, once a week, in Henry’s living room. We didn’t have to practice too hard; the songs ran in our blood. “Illegal Smile.” “Fish and Whistle.” “The Great Compromise.” \u003c/p>\n\u003cp>In every corner of Prine’s catalog, we found unexpected riches beyond the well-known hits. “Grandpa Was a Carpenter,” an ode to ancestry and the simple life. “Clocks and Spoons,” a sweet lullaby. “Sabu Visits the Twin Cities Alone,” a quirky story about a child actor and his manager. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’d play and sing, dissect the songs, tell stories about how they related to various phases of our lives, and ask ourselves things like, “Is there anything more heartbreaking than ‘\u003ca href=\"https://www.youtube.com/watch?v=_ujOTP8oPpY\" rel=\"noopener noreferrer\" target=\"_blank\">Far From Me\u003c/a>?’”:\u003c/p>\n\u003cp>\u003cem>Why we used to laugh together, and we’d dance to any old song\u003c/em>\u003cbr>\n\u003cem>Well you know, she still laughs with me, but she waits just a second too long\u003c/em>\u003c/p>\n\u003cp>We worked up over 20 of his songs, and were ready for the big tribute show. And wouldn’t you know it, right when John Prine died, we weren’t allowed to perform them, by law. I can just imagine him looking down at us and laughing, and saying: \u003cem>that’s the way the world goes ’round.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13824006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/john-prine-danny-clinch_custom-3263393f8040f375dab3b42b2615eccf60b8ab24.jpg 909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>5.\u003c/h2>\n\u003cp>John Prine called my house one morning a few years back. We talked for 15 minutes, a typical phone interview to promote a concert in town. He’d just put out \u003cem>The Tree of Forgiveness\u003c/em>, his final album.\u003c/p>\n\u003cp>“I think everybody needs a little forgiveness,” Prine told me. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>I didn’t think to ask what he needed to forgive himself for. Instead, we talked about things that excited him: reading newspapers, meeting younger fans, buying old cars on eBay late at night. \u003c/p>\n\u003cp>He was excited, too, that the United States had term limits, and the fact that Trump “can’t be in there for more than eight years,” he said, adding, “I’m hoping he’s out of there in four.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13878315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Prine.SelfTitled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>6.\u003c/h2>\n\u003cp>On Tuesday, I was reading that Trump \u003ca href=\"https://www.washingtonpost.com/national-security/trump-removes-inspector-general-who-was-to-oversee-2-trillion-stimulus-spending/2020/04/07/2f0c6cb8-78ea-11ea-9bee-c5bf9d2e3288_story.html\" rel=\"noopener noreferrer\" target=\"_blank\">fired the inspector general assigned to oversee the $2.2 trillion coronavirus relief bill\u003c/a>, and thinking about words like dictatorship and kleptocracy, as one does these days. And then I saw that Prine had died. \u003c/p>\n\u003cp>I walked around my neighborhood in a daze. I knew it was coming, but the cause and the timing angered me. Prine died from the coronavirus, which Trump \u003ca href=\"https://www.washingtonpost.com/politics/2020/03/12/trump-coronavirus-timeline/\" rel=\"noopener noreferrer\" target=\"_blank\">spectacularly downplayed\u003c/a> for months, delaying preventative, life-saving measures. Now, as news of Prine’s death arrived, the president was ridding the government of those seen as disloyal, and effectively securing a blank checkbook for himself. It was all too much: the ascendancy of corruption and the death of good.\u003c/p>\n\u003cp>For comfort, I started singing “\u003ca href=\"https://www.youtube.com/watch?v=kJ7sc9Cbuiw\" rel=\"noopener noreferrer\" target=\"_blank\">Souvenirs\u003c/a>,” blending it with “\u003ca href=\"https://www.youtube.com/watch?v=OLVWEYUqGew\" rel=\"noopener noreferrer\" target=\"_blank\">Sam Stone\u003c/a>”—with the line “sweet songs never last too long on broken radios.” But I could only think about how our radio is broken, and how John Prine was the sweetest song of all.\u003c/p>\n\u003cp>Then I tried singing “\u003ca href=\"https://www.youtube.com/watch?v=nmgYCI3OWw4\" rel=\"noopener noreferrer\" target=\"_blank\">Please Don’t Bury Me\u003c/a>,” one of Prine’s many songs about dying, with the part about giving his ears to the deaf “if they don’t mind the size.” A funny line, but I couldn’t bring myself to laugh. \u003c/p>\n\u003cp>But then something else happened as I walked around. I noticed the small things, for a change. I poked my head inside a ’73 Volkswagen bug and studied the dashboard. I passed a few cats sitting in driveways, regal and unwilling to be pet. I examined the bark of a magnolia tree, which I’d never considered before. I watched a few people outside the old folks’ home, sitting on the bench talking, like they always do.\u003c/p>\n\u003cp>I breathed a little easier. It was the quilt of little things that make up a life.\u003c/p>\n\u003cp>It all felt like a John Prine song. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "John Prine, Master of Songwriting, Dies After Developing COVID-19 Symptoms",
"headTitle": "John Prine, Master of Songwriting, Dies After Developing COVID-19 Symptoms | KQED",
"content": "\u003cp>John Prine, a wry and perceptive writer whose songs often resembled vivid short stories, died Tuesday in Nashville from complications related to COVID-19. His death was confirmed by his publicist, on behalf of his family. He was 73 years old. \u003c/p>\n\u003cp>Prine was hospitalized last week after falling ill and put on a ventilator Saturday night, according to \u003ca href=\"https://www.facebook.com/JohnPrine/photos/a.10151864916729446/10158311124894446/?type=3&__xts__%5B0%5D=68.ARDLYlQAcqfsEIWYTQWX7fPO2qpLLnIYIUMoAAmI3L6USE1C8wwAuGl8UgMx7cciLLlFQOzaRR7QZ0vDe89ifJjTS-KNX8OuwdvXr6mecUejeVFU_cOLmj1FCA-MYdn2UlcEMeu526Iif1uzvRHQm4UjXWUywkYFTxD6Zxxfe7JaSoQQbXJUpiBbrTyETRhmTiLuygYUQJKrONQJmgxaKba36A5JssEuqOWS0u4yDOIIvWDlmboGAxtGt8hz4QXYX705qPZ9lATNZs9RS2sjGzmJ9j3JPy4clXs_2C2YgdK8U2kFF-1dWchujIhtdlBlL5r4mQ5GQo-Iwao8-g&__tn__=-R\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>Even as a young man, Prine — who famously worked as a mailman before turning to music full-time — wrote evocative songs that belied his age. With a conversational vocal approach, he quickly developed a reputation as a performer who empathized with his characters. His beloved 1971 self-titled debut features the aching “Hello In There,” written from the perspective of a lonely elderly man who simply wants to be noticed, and the equally bittersweet “Angel From Montgomery.” The latter song is narrated by a middle-aged woman with deep regrets over the way her life turned out, married to a man who’s merely “another child that’s grown old.”\u003c/p>\n\u003cp>Bestowing dignity on the overlooked and marginalized was a common theme throughout Prine’s career; he became known for detailed vignettes about ordinary people that illustrated larger truths about society. One of his signature songs, “Sam Stone,” is an empathetic tale of a decorated veteran who overdoses because he has trouble readjusting to real life after the war. (Prine has said he based the protagonist around friends who were Vietnam War veterans, and also soldiers he encountered during his own two-year stint as an Army mechanic.)\u003c/p>\n\u003cp>Like “Sam Stone,” many of Prine’s songs also had an uncanny ability to address (if not predict) the societal and political zeitgeist. The understated 1984 song “Unwed Fathers” illustrates pernicious double standards pertaining to gender: The titular group “can’t be bothered / They run like water, through a mountain stream,” while the young women they impregnate are shamed and face consequences. Recorded for \u003cem>John Prine\u003c/em>, “Your Flag Decal Won’t Get You Into Heaven Anymore” criticizes people who use piety and patriotism as a cover for supporting an unjust war — a theme he’d revisit on 2005’s “Some Humans Ain’t Human,” which pulls no punches slamming both hypocritical people and the Iraq War started by George W. Bush.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5HCBeYj2VCeiyQNpSezVvQ\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>But like fellow songwriting iconoclast Shel Silverstein, Prine also cloaked his pointed commentary within whimsical wordplay. “Some Humans Ain’t Human” claims that inside the heart of these turncoats is “a few frozen pizzas, some ice cubes with hair and a broken Popsicle,” while “Dear Abby” has a lilting, rollicking rhythm to its verses, as it gently chides advice-column complainers to count their blessings. “Bruised Orange (Chain of Sorrow)” uses both absurdity (an altar boy struck by a train) and the mundane (a bench makeout) to encourage people to stay positive and have gratitude.\u003c/p>\n\u003cp>And “Christmas In Prison” boasts one of his best lyrics — “She reminds me of a chess game with someone I admire” — while embodying his quiet irreverence. “It’s about a person being somewhere like a prison, in a situation they don’t want to be in, and wishing they were somewhere else,” he wrote in the liner notes to 1993’s \u003cem>Great Days: The John Prine Anthology\u003c/em>, adding that “I used all the imagery as if it were an actual prison. … And being a sentimental guy, I put it at Christmas.”\u003c/p>\n\u003cp>Prine was born on October 10, 1946, to parents with strong family ties to Paradise, Kentucky, a place that later served as the backdrop to “Paradise,” his cautionary tale about a coal country town destroyed and discarded by corporate interests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Raised in Maywood, a suburb of Chicago,, the young Prine devoured 45s from Buddy Holly, Johnny Cash and Little Richard, and soaked up the country music his father loved, such as Hank Williams Sr., Ernest Tubb and Roy Acuff. More crucially, Prine learned rudimentary guitar skills from his oldest brother, Dave, a folk fan who memorably gifted him a Carter Family LP. “I learned all those songs,” he\u003ca href=\"https://www.npr.org/2019/06/21/734391998/john-prine-on-music-cancer-and-why-he-never-expected-to-be-a-recording-artist\"> told NPR’s Terry Gross\u003c/a> in 2018. “And not too long after that, I started writing when I was 14. And my melodies always came out like old-timey country stuff.” Around this time, Prine also started to learn finger-picking by playing songs by Elizabeth Cotten and Mississippi John Hurt, he added: “I’d sit in the closet in the dark in case I ever went blind, to see if I could play.”\u003c/p>\n\u003cp>Although Prine also started taking guitar lessons at Chicago’s Old Town School of Folk Music starting in fall 1963, he still wasn’t considering pursuing music as a full-time career. In fact, he was working as a mailman and playing gigs at night on the side when a generous live review from critic Roger Ebert in late 1970 boosted his reputation in Chicago’s nascent folk scene. A record deal with Atlantic Records came in early 1971, after then-executive Jerry Wexler saw Prine perform three songs during a Kris Kristofferson set at the Bottom Line in New York City.\u003c/p>\n\u003cfigure id=\"attachment_13878302\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/prine.jpg\" alt=\"John Prine, hanging out at Georgia State College in 1975.\" width=\"600\" height=\"896\" class=\"size-full wp-image-13878302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine-160x239.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">John Prine, hanging out at Georgia State College in 1975.\u003cbr> \u003ccite>(Tom Hill/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine received a Grammy nomination for Best New Artist in 1972, on the strength of his debut, and started turning out records at a brisk pace for the rest of the 1970s. Almost immediately, his songs were covered by other artists: Bonnie Raitt did a version of “Angel From Montgomery” (as did John Denver and Tanya Tucker), while Bette Midler, Everly Brothers, Swamp Dogg and, later, the Highwaymen also recorded Prine-penned songs.\u003c/p>\n\u003cp>Being in the spotlight didn’t come naturally. “I had a difficult time listening back to them because I was so nervous,” he told NPR’s Gross about his early records. “I didn’t expect to do this for a living, be a recording artist. I was just playing music for the fun of it and writing songs to … that was kind of my escape, you know, from the humdrum of the world.”\u003c/p>\n\u003cp>But Prine’s early success allowed him to start approaching his career on his own terms. With manager Al Bunetta, he formed the independent label Oh Boy Records in 1981, launching it with a Christmas single, “I Saw Mommy Kissing Santa Claus.” Prine slowed down his output in the ’80s and ’90s but expanded his sonic purview, co-writing “Jackie O” with John Cougar Mellencamp for the latter’s hit 1983 LP \u003cem>Uh-Huh\u003c/em> and collaborating with members of Tom Petty & The Heartbreakers for his 1991 album \u003cem>The Missing Years\u003c/em>, which won a Grammy for Best Contemporary Folk Album. (Prine also won in the same category for 2005’s \u003cem>Fair & Square\u003c/em>.)\u003c/p>\n\u003cp>Starting in the mid-’90s, Prine also dealt with several serious health issues. He had a cancerous tumor in his neck removed in 1996, successfully beat lung cancer in 2013, and had a heart stent implanted in 2019. In 2018, he admitted to NPR’s Terry Gross that his 1996 cancer surgery changed his voice. “It dropped down lower, and it feels friendlier to me,” he said. “So I can actually sit in the studio and listen to my singing play back. Before, I’d run the other way.” He debuted his new voice — which did feel a bit rougher of comfort, like a rock swathed in moss — with 1999’s \u003cem>In Spite of Ourselves\u003c/em>, which featured duets on covers with female artists such as Iris DeMent, Patty Loveless and Lucinda Williams. He released a kindred-spirit sequel in 2016, \u003cem>For Better, or Worse\u003c/em>, that also featured DeMent, in addition to duets with contemporary artists Miranda Lambert, Kacey Musgraves and Morgane Stapleton.\u003c/p>\n\u003cfigure id=\"attachment_13878298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg\" alt=\"John Prine at the Edison Hotel in Times Square, 1999.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13878298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Prine at the Edison Hotel in Times Square, 1999. \u003ccite>(New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine’s career received another boost more recently, too, after his work was championed by modern Americana acts such as Jason Isbell and Amanda Shires — two artists with whom Prine collaborated — Sturgill Simpson and Margo Price. In 2019, he was inducted into the Songwriters Hall of Fame, the year after releasing \u003cem>The Tree of Forgiveness\u003c/em>, his first album of all-new original songs since \u003cem>Fair & Square\u003c/em>. The album featured co-writes with Dan Auerbach and long-time foils Pat McLaughlin and Keith Sykes, and debuted at No. 5 on \u003cem>Billboard\u003c/em>‘s Top 200.\u003c/p>\n\u003cp>\u003cem>The Tree of Forgiveness\u003c/em> ends with a song called “When I Get to Heaven,” a detailed look at what Prine said he intended to do after he dies: start a band, see dearly departed family members, order a cocktail, shake God’s hand, and encourage rampant forgiveness. (In a nod to his usual wryness, he also said he’d enjoy a cigarette that’s “nine miles long,” no doubt because he gave up smoking after his cancer bouts.) The lyrics are sentimental and freewheeling, making it clear that Prine planned to keep the good times going up in heaven. It’s likely that the song was intended to be a winking bit of foreshadowing about his own mortality, although now, perhaps it’s better interpreted as Prine providing a blueprint for how to live life with gusto while you’re still here. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Prine%2C+Hero+Of+%27New%27+Nashville%2C+Dies+After+Developing+COVID-19+Symptoms&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Prine, a wry and perceptive writer whose songs often resembled vivid short stories, died Tuesday in Nashville from complications related to COVID-19. His death was confirmed by his publicist, on behalf of his family. He was 73 years old. \u003c/p>\n\u003cp>Prine was hospitalized last week after falling ill and put on a ventilator Saturday night, according to \u003ca href=\"https://www.facebook.com/JohnPrine/photos/a.10151864916729446/10158311124894446/?type=3&__xts__%5B0%5D=68.ARDLYlQAcqfsEIWYTQWX7fPO2qpLLnIYIUMoAAmI3L6USE1C8wwAuGl8UgMx7cciLLlFQOzaRR7QZ0vDe89ifJjTS-KNX8OuwdvXr6mecUejeVFU_cOLmj1FCA-MYdn2UlcEMeu526Iif1uzvRHQm4UjXWUywkYFTxD6Zxxfe7JaSoQQbXJUpiBbrTyETRhmTiLuygYUQJKrONQJmgxaKba36A5JssEuqOWS0u4yDOIIvWDlmboGAxtGt8hz4QXYX705qPZ9lATNZs9RS2sjGzmJ9j3JPy4clXs_2C2YgdK8U2kFF-1dWchujIhtdlBlL5r4mQ5GQo-Iwao8-g&__tn__=-R\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>Even as a young man, Prine — who famously worked as a mailman before turning to music full-time — wrote evocative songs that belied his age. With a conversational vocal approach, he quickly developed a reputation as a performer who empathized with his characters. His beloved 1971 self-titled debut features the aching “Hello In There,” written from the perspective of a lonely elderly man who simply wants to be noticed, and the equally bittersweet “Angel From Montgomery.” The latter song is narrated by a middle-aged woman with deep regrets over the way her life turned out, married to a man who’s merely “another child that’s grown old.”\u003c/p>\n\u003cp>Bestowing dignity on the overlooked and marginalized was a common theme throughout Prine’s career; he became known for detailed vignettes about ordinary people that illustrated larger truths about society. One of his signature songs, “Sam Stone,” is an empathetic tale of a decorated veteran who overdoses because he has trouble readjusting to real life after the war. (Prine has said he based the protagonist around friends who were Vietnam War veterans, and also soldiers he encountered during his own two-year stint as an Army mechanic.)\u003c/p>\n\u003cp>Like “Sam Stone,” many of Prine’s songs also had an uncanny ability to address (if not predict) the societal and political zeitgeist. The understated 1984 song “Unwed Fathers” illustrates pernicious double standards pertaining to gender: The titular group “can’t be bothered / They run like water, through a mountain stream,” while the young women they impregnate are shamed and face consequences. Recorded for \u003cem>John Prine\u003c/em>, “Your Flag Decal Won’t Get You Into Heaven Anymore” criticizes people who use piety and patriotism as a cover for supporting an unjust war — a theme he’d revisit on 2005’s “Some Humans Ain’t Human,” which pulls no punches slamming both hypocritical people and the Iraq War started by George W. Bush.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5HCBeYj2VCeiyQNpSezVvQ\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>But like fellow songwriting iconoclast Shel Silverstein, Prine also cloaked his pointed commentary within whimsical wordplay. “Some Humans Ain’t Human” claims that inside the heart of these turncoats is “a few frozen pizzas, some ice cubes with hair and a broken Popsicle,” while “Dear Abby” has a lilting, rollicking rhythm to its verses, as it gently chides advice-column complainers to count their blessings. “Bruised Orange (Chain of Sorrow)” uses both absurdity (an altar boy struck by a train) and the mundane (a bench makeout) to encourage people to stay positive and have gratitude.\u003c/p>\n\u003cp>And “Christmas In Prison” boasts one of his best lyrics — “She reminds me of a chess game with someone I admire” — while embodying his quiet irreverence. “It’s about a person being somewhere like a prison, in a situation they don’t want to be in, and wishing they were somewhere else,” he wrote in the liner notes to 1993’s \u003cem>Great Days: The John Prine Anthology\u003c/em>, adding that “I used all the imagery as if it were an actual prison. … And being a sentimental guy, I put it at Christmas.”\u003c/p>\n\u003cp>Prine was born on October 10, 1946, to parents with strong family ties to Paradise, Kentucky, a place that later served as the backdrop to “Paradise,” his cautionary tale about a coal country town destroyed and discarded by corporate interests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Raised in Maywood, a suburb of Chicago,, the young Prine devoured 45s from Buddy Holly, Johnny Cash and Little Richard, and soaked up the country music his father loved, such as Hank Williams Sr., Ernest Tubb and Roy Acuff. More crucially, Prine learned rudimentary guitar skills from his oldest brother, Dave, a folk fan who memorably gifted him a Carter Family LP. “I learned all those songs,” he\u003ca href=\"https://www.npr.org/2019/06/21/734391998/john-prine-on-music-cancer-and-why-he-never-expected-to-be-a-recording-artist\"> told NPR’s Terry Gross\u003c/a> in 2018. “And not too long after that, I started writing when I was 14. And my melodies always came out like old-timey country stuff.” Around this time, Prine also started to learn finger-picking by playing songs by Elizabeth Cotten and Mississippi John Hurt, he added: “I’d sit in the closet in the dark in case I ever went blind, to see if I could play.”\u003c/p>\n\u003cp>Although Prine also started taking guitar lessons at Chicago’s Old Town School of Folk Music starting in fall 1963, he still wasn’t considering pursuing music as a full-time career. In fact, he was working as a mailman and playing gigs at night on the side when a generous live review from critic Roger Ebert in late 1970 boosted his reputation in Chicago’s nascent folk scene. A record deal with Atlantic Records came in early 1971, after then-executive Jerry Wexler saw Prine perform three songs during a Kris Kristofferson set at the Bottom Line in New York City.\u003c/p>\n\u003cfigure id=\"attachment_13878302\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/prine.jpg\" alt=\"John Prine, hanging out at Georgia State College in 1975.\" width=\"600\" height=\"896\" class=\"size-full wp-image-13878302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/prine-160x239.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">John Prine, hanging out at Georgia State College in 1975.\u003cbr> \u003ccite>(Tom Hill/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine received a Grammy nomination for Best New Artist in 1972, on the strength of his debut, and started turning out records at a brisk pace for the rest of the 1970s. Almost immediately, his songs were covered by other artists: Bonnie Raitt did a version of “Angel From Montgomery” (as did John Denver and Tanya Tucker), while Bette Midler, Everly Brothers, Swamp Dogg and, later, the Highwaymen also recorded Prine-penned songs.\u003c/p>\n\u003cp>Being in the spotlight didn’t come naturally. “I had a difficult time listening back to them because I was so nervous,” he told NPR’s Gross about his early records. “I didn’t expect to do this for a living, be a recording artist. I was just playing music for the fun of it and writing songs to … that was kind of my escape, you know, from the humdrum of the world.”\u003c/p>\n\u003cp>But Prine’s early success allowed him to start approaching his career on his own terms. With manager Al Bunetta, he formed the independent label Oh Boy Records in 1981, launching it with a Christmas single, “I Saw Mommy Kissing Santa Claus.” Prine slowed down his output in the ’80s and ’90s but expanded his sonic purview, co-writing “Jackie O” with John Cougar Mellencamp for the latter’s hit 1983 LP \u003cem>Uh-Huh\u003c/em> and collaborating with members of Tom Petty & The Heartbreakers for his 1991 album \u003cem>The Missing Years\u003c/em>, which won a Grammy for Best Contemporary Folk Album. (Prine also won in the same category for 2005’s \u003cem>Fair & Square\u003c/em>.)\u003c/p>\n\u003cp>Starting in the mid-’90s, Prine also dealt with several serious health issues. He had a cancerous tumor in his neck removed in 1996, successfully beat lung cancer in 2013, and had a heart stent implanted in 2019. In 2018, he admitted to NPR’s Terry Gross that his 1996 cancer surgery changed his voice. “It dropped down lower, and it feels friendlier to me,” he said. “So I can actually sit in the studio and listen to my singing play back. Before, I’d run the other way.” He debuted his new voice — which did feel a bit rougher of comfort, like a rock swathed in moss — with 1999’s \u003cem>In Spite of Ourselves\u003c/em>, which featured duets on covers with female artists such as Iris DeMent, Patty Loveless and Lucinda Williams. He released a kindred-spirit sequel in 2016, \u003cem>For Better, or Worse\u003c/em>, that also featured DeMent, in addition to duets with contemporary artists Miranda Lambert, Kacey Musgraves and Morgane Stapleton.\u003c/p>\n\u003cfigure id=\"attachment_13878298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg\" alt=\"John Prine at the Edison Hotel in Times Square, 1999.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13878298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/gettyimages-97302206_wide-57ed4cefc4d38ff148e44281eb4233b6b2cdef30.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Prine at the Edison Hotel in Times Square, 1999. \u003ccite>(New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prine’s career received another boost more recently, too, after his work was championed by modern Americana acts such as Jason Isbell and Amanda Shires — two artists with whom Prine collaborated — Sturgill Simpson and Margo Price. In 2019, he was inducted into the Songwriters Hall of Fame, the year after releasing \u003cem>The Tree of Forgiveness\u003c/em>, his first album of all-new original songs since \u003cem>Fair & Square\u003c/em>. The album featured co-writes with Dan Auerbach and long-time foils Pat McLaughlin and Keith Sykes, and debuted at No. 5 on \u003cem>Billboard\u003c/em>‘s Top 200.\u003c/p>\n\u003cp>\u003cem>The Tree of Forgiveness\u003c/em> ends with a song called “When I Get to Heaven,” a detailed look at what Prine said he intended to do after he dies: start a band, see dearly departed family members, order a cocktail, shake God’s hand, and encourage rampant forgiveness. (In a nod to his usual wryness, he also said he’d enjoy a cigarette that’s “nine miles long,” no doubt because he gave up smoking after his cancer bouts.) The lyrics are sentimental and freewheeling, making it clear that Prine planned to keep the good times going up in heaven. It’s likely that the song was intended to be a winking bit of foreshadowing about his own mortality, although now, perhaps it’s better interpreted as Prine providing a blueprint for how to live life with gusto while you’re still here. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Prine%2C+Hero+Of+%27New%27+Nashville%2C+Dies+After+Developing+COVID-19+Symptoms&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Independent Venue Alliance Offers Hope for Local Music Ecosystem",
"headTitle": "Independent Venue Alliance Offers Hope for Local Music Ecosystem | KQED",
"content": "\u003cp>Before the coronavirus pandemic, surviving in San Francisco was already tough for venues like \u003ca href=\"http://www.bottomofthehill.com/calendar.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>On most nights since 1991, the scrappy Potrero Hill club filled up with fans eager to see up-and-coming bands, with tickets typically under $15 a head. The venue bet on smaller acts rather than well-known artists on tour, with local bands making up an estimated 70% of their recent bookings.\u003c/p>\n\u003cp>In the weeks since shelter-in-place orders came down, co-owner and head booker Lynn Schwarz has found herself steadily refunding $20,000 of canceled show tickets while fielding phone calls from agents postponing bigger concerts. The safety measures necessary to stop the spread of the coronavirus have only exacerbated the challenges businesses like hers face simply by operating in a city as expensive as San Francisco. So Schwarz was relieved when \u003ca href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make Out Room\u003c/a> booker Parker Gibbs and Fred Barnes, general manager of \u003ca href=\"https://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a>, invited Bottom of the Hill to join the Independent Venue Alliance, a new organization they formed to advocate for San Francisco bars and clubs reeling from coronavirus closures.\u003c/p>\n\u003cp>“For the first time ever, I don’t think we should do this on our own,” says Schwarz. “This alliance, of all the hands being extended right now, is the one thing that sounds like it may actually work.”\u003c/p>\n\u003cfigure id=\"attachment_13852013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0696-800x503.jpg\" alt=\"King Woman’s Kristina Esfandiari returns to the Bay to perform a rose tinted set with her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-768x483.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Woman’s Kristina Esfandiari performs her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Independent venues] serve such an important role in culture and in society, but there’s not really any safety net for them at all in a situation like this—or before this,” says Barnes, pointing to the numerous San Francisco venues that shuttered before the pandemic. In 2018, longstanding rock bar \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">The Hemlock\u003c/a> closed to make way for condos, and dance club \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">The Mezzanine\u003c/a> followed suit on New Year’s Day 2020, with building owners planning to convert it into offices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the economic turmoil of the pandemic, independent venues have fallen through the cracks of most local relief efforts. \u003ca href=\"https://www.cciarts.org/EmergencyRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Arts & Artists Relief Fund\u003c/a> is geared towards individual artists and nonprofit organizations. And the city’s \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">Small Business Resiliency Fund\u003c/a> offers grants for small businesses with five or fewer employees—a criteria most venues don’t meet. \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">City and federal loans\u003c/a> are available, but repaying them when it’s safe to reopen will be an added challenge for venues already struggling to cover operating costs through ticket and bar sales.\u003c/p>\n\u003cp>“All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” says Schwarz, adding that Bottom of the Hill launched a \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10220\" target=\"_blank\" rel=\"noopener noreferrer\">relief fund\u003c/a> for its employees. “Right now my partners are digging into their retirement to keep us open, and the act of opening our doors is going to take another influx of money when we eventually do.”\u003c/p>\n\u003cp>Fellow alliance member and Mission district bar \u003ca href=\"https://www.elriosf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Rio\u003c/a>, established in 1978, faces similar challenges. It recently laid off its entire staff of 20 in what’s typically the bar’s busiest season. (The venue raised around $15,000 for its former employees via \u003ca href=\"https://www.gofundme.com/f/support-for-el-rio-staff\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.) “We have monthly weekend get-togethers on the patio, and those vary in terms of population but it’s very, very Mission, very, very local. We try to center queer, POC, working class folks,” says general manager Lynne Angel. “And right when we were getting started, everything kind of shut down.”\u003c/p>\n\u003cp>Independent venues face much greater hurdles than those backed by AEG or Live Nation, the world’s two largest events presenters, which control bookings at several prominent venues in the Bay Area, including the Fillmore, Regency Ballroom and The Warfield. Barnes hopes to use the Independent Venue Alliance to create a collective fundraiser that can be doled out among participating bars and clubs so they can continue to pay their staff. The goal is to give individuals and corporate donors alike one official, centralized location to support the local music ecosystem.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We employ a lot of people who are San Francisco natives, Mission District natives and are in the service industry,” Barnes says, adding that the Chapel is \u003ca href=\"https://www.gofundme.com/f/the-chapel-staff-relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> for its 80 workers, most of whom are paid hourly. “They live often paycheck to paycheck in terms of their rent. … It’s already difficult for them.”\u003c/p>\n\u003cp>Another of the alliance’s ambitions is to give owners and managers a collective voice when advocating for independent venues’ unique concerns in City Hall. The alliance also wants to promote consumer awareness: San Francisco has a conscious consumer culture, but oftentimes the average patron doesn’t know whether they’re supporting a corporate-backed venue or an independent, Barnes reasons.\u003c/p>\n\u003cp>In addition to The Chapel, El Rio, Make Out Room and Bottom of the Hill, the Independent Venue Alliance has enlisted Neck of the Woods, The Knockout, Rickshaw Stop and Amado’s, and a telethon fundraiser is in the works. Each venue serves a different music scene and clientele that Barnes hopes will band together to ensure the local ecosystem can endure for years to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Musical] movements have always been attached to specific venues that have become famous, and they’re always independent venues,” he says. “That’s a really important point because that’s where culture grows.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the coronavirus pandemic, surviving in San Francisco was already tough for venues like \u003ca href=\"http://www.bottomofthehill.com/calendar.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>On most nights since 1991, the scrappy Potrero Hill club filled up with fans eager to see up-and-coming bands, with tickets typically under $15 a head. The venue bet on smaller acts rather than well-known artists on tour, with local bands making up an estimated 70% of their recent bookings.\u003c/p>\n\u003cp>In the weeks since shelter-in-place orders came down, co-owner and head booker Lynn Schwarz has found herself steadily refunding $20,000 of canceled show tickets while fielding phone calls from agents postponing bigger concerts. The safety measures necessary to stop the spread of the coronavirus have only exacerbated the challenges businesses like hers face simply by operating in a city as expensive as San Francisco. So Schwarz was relieved when \u003ca href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Make Out Room\u003c/a> booker Parker Gibbs and Fred Barnes, general manager of \u003ca href=\"https://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a>, invited Bottom of the Hill to join the Independent Venue Alliance, a new organization they formed to advocate for San Francisco bars and clubs reeling from coronavirus closures.\u003c/p>\n\u003cp>“For the first time ever, I don’t think we should do this on our own,” says Schwarz. “This alliance, of all the hands being extended right now, is the one thing that sounds like it may actually work.”\u003c/p>\n\u003cfigure id=\"attachment_13852013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0696-800x503.jpg\" alt=\"King Woman’s Kristina Esfandiari returns to the Bay to perform a rose tinted set with her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0696-768x483.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Woman’s Kristina Esfandiari performs her solo project Miserable on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[Independent venues] serve such an important role in culture and in society, but there’s not really any safety net for them at all in a situation like this—or before this,” says Barnes, pointing to the numerous San Francisco venues that shuttered before the pandemic. In 2018, longstanding rock bar \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">The Hemlock\u003c/a> closed to make way for condos, and dance club \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">The Mezzanine\u003c/a> followed suit on New Year’s Day 2020, with building owners planning to convert it into offices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the economic turmoil of the pandemic, independent venues have fallen through the cracks of most local relief efforts. \u003ca href=\"https://www.cciarts.org/EmergencyRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Arts & Artists Relief Fund\u003c/a> is geared towards individual artists and nonprofit organizations. And the city’s \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">Small Business Resiliency Fund\u003c/a> offers grants for small businesses with five or fewer employees—a criteria most venues don’t meet. \u003ca href=\"https://oewd.org/businesses-impacted-covid-19#Grants\" target=\"_blank\" rel=\"noopener noreferrer\">City and federal loans\u003c/a> are available, but repaying them when it’s safe to reopen will be an added challenge for venues already struggling to cover operating costs through ticket and bar sales.\u003c/p>\n\u003cp>“All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” says Schwarz, adding that Bottom of the Hill launched a \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10220\" target=\"_blank\" rel=\"noopener noreferrer\">relief fund\u003c/a> for its employees. “Right now my partners are digging into their retirement to keep us open, and the act of opening our doors is going to take another influx of money when we eventually do.”\u003c/p>\n\u003cp>Fellow alliance member and Mission district bar \u003ca href=\"https://www.elriosf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">El Rio\u003c/a>, established in 1978, faces similar challenges. It recently laid off its entire staff of 20 in what’s typically the bar’s busiest season. (The venue raised around $15,000 for its former employees via \u003ca href=\"https://www.gofundme.com/f/support-for-el-rio-staff\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.) “We have monthly weekend get-togethers on the patio, and those vary in terms of population but it’s very, very Mission, very, very local. We try to center queer, POC, working class folks,” says general manager Lynne Angel. “And right when we were getting started, everything kind of shut down.”\u003c/p>\n\u003cp>Independent venues face much greater hurdles than those backed by AEG or Live Nation, the world’s two largest events presenters, which control bookings at several prominent venues in the Bay Area, including the Fillmore, Regency Ballroom and The Warfield. Barnes hopes to use the Independent Venue Alliance to create a collective fundraiser that can be doled out among participating bars and clubs so they can continue to pay their staff. The goal is to give individuals and corporate donors alike one official, centralized location to support the local music ecosystem.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We employ a lot of people who are San Francisco natives, Mission District natives and are in the service industry,” Barnes says, adding that the Chapel is \u003ca href=\"https://www.gofundme.com/f/the-chapel-staff-relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> for its 80 workers, most of whom are paid hourly. “They live often paycheck to paycheck in terms of their rent. … It’s already difficult for them.”\u003c/p>\n\u003cp>Another of the alliance’s ambitions is to give owners and managers a collective voice when advocating for independent venues’ unique concerns in City Hall. The alliance also wants to promote consumer awareness: San Francisco has a conscious consumer culture, but oftentimes the average patron doesn’t know whether they’re supporting a corporate-backed venue or an independent, Barnes reasons.\u003c/p>\n\u003cp>In addition to The Chapel, El Rio, Make Out Room and Bottom of the Hill, the Independent Venue Alliance has enlisted Neck of the Woods, The Knockout, Rickshaw Stop and Amado’s, and a telethon fundraiser is in the works. Each venue serves a different music scene and clientele that Barnes hopes will band together to ensure the local ecosystem can endure for years to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Musical] movements have always been attached to specific venues that have become famous, and they’re always independent venues,” he says. “That’s a really important point because that’s where culture grows.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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