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"title": "How Coronavirus Derailed a Fulbright Fellow’s Musicological Research in Brazil",
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"content": "\u003cp>Robert Lopez was only seven weeks into a nine-month Fulbright trip to Brazil, studying music of the syncretic religion Candomblé, when program officials told him to return to the United States.\u003c/p>\n\u003cp>The \u003ca href=\"https://robertlopezmusic.tumblr.com/bio\">Oakland percussionist\u003c/a> and \u003ca href=\"https://www.eastbayexpress.com/oakland/activemusic-series-provides-relaxed-atmosphere-for-strange-sounds/Content?oid=8276603\">improvised music scene fixture\u003c/a> was devastated. Lopez spent years pursuing the prestigious research grant, and he and his partner forfeited their jobs and rent-controlled apartment to move to Salvador, a center of the Afro-Brazilian spiritual practice. “I expected two or three months to plan re-entry,” Lopez said. “Instead it was a matter of days.”\u003c/p>\n\u003cp>Fulbright told Lopez and other grantees to leave Brazil on March 20 as the novel coronavirus escalated into a global pandemic, revoking his healthcare and withholding 41 percent of the $15,350 grant for living and travel expenses. Instead of enhancing safety, Lopez felt Fulbright actually heightened his exposure risk. “Flying back to the U.S., no one was screened,” he said.\u003c/p>\n\u003cp>It’s little consolation that Fulbright now considers Lopez a program alum. “That doesn’t mean anything to me right now,” he said. From temporary housing in the Southern California desert, where Lopez and his partner, experimental musician Shanna Sordahl, have self-quarantined, he’s joining with other Fulbrighters to write congresspeople, asking at least for the full stipend.\u003c/p>\n\u003cp>“But what I want more than anything is to go back to Brazil and finish this project,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg\" alt=\"Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13878169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez, 37, encountered the ensemble drumming of Candomblé, a religious expression borne of the Atlantic slave trade and Portuguese colonialism, as a Cal State Long Beach undergraduate on trips to Brazil with the World Percussion Project. He moved to the Bay Area in 2011 to pursue a graduate degree in the Mills College music department, and five years ago began studying independently with a master Candomblé percussionist and dancer in Oakland, \u003ca href=\"http://www.jorgealabe.com/about.html\">Jorge Alabê\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a Candomblé ceremony, musicians lead dancers in tributes to unique deities, known as orixás. The ensemble generally includes a bell player, two support drummers and a lead drummer playing atabaques, hand drums akin to congas. Lopez was moved by the atabaque’s dynamic range and the music’s fluid feel, especially the improvisational lead drum. Studying with Alabê, he grew skilled enough to support Candomblé dancers for educational and ceremonial purposes.\u003c/p>\n\u003cp>Lopez was fortunate to meet Alabê. Unlike idioms such as samba, master percussionists in the Candomblé tradition are rare outside of Brazil. At the same time, he noticed the music receiving little scholarly attention. He felt the pull of Salvador, a port city in the Bahia state considered sacred in the Candomblé faith, to gain cultural context. “Otherwise it’s like studying jazz coordination patterns on drums without hearing musicians interact in the moment,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RobertLopez.Inline-800x1064.jpg\" alt=\"Robert Lopez and Shanna Sordahl parading during Carnaval.\" width=\"600\" height=\"798\" class=\"size-medium wp-image-13878237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-768x1021.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Robert Lopez and Shanna Sordahl parading during Carnaval. \u003ccite>(Courtesy Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez first’s Fulbright application in 2017 was declined. He re-submitted in October of 2018, and was accepted last April. He learned conversational Portuguese, secured a university affiliation and made key inroads with practitioners in Salvador to prepare for the intensive ethnomusicological study. “I am on the cusp of having the knowledge and ability to take a leadership role in the transmission of Candomblé in the US,” he wrote in the project proposal.\u003c/p>\n\u003cp>For a short while, Lopez was on track to achieve his goals. He and Sordahl sublet the apartment of Rosangela Silvestre, a dancer he’d accompanied as a drummer in California. He received group and individual instruction most days at the Diáspora Art Center in Salvador and private studios from teachers including Nem Britto, Bira Santos, Iuri Passos, Ueslei “Totó” Cruz and Mario Pam. Lopez also developed a daily transcription practice, notating music traditionally taught by example.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Robert Lopez']‘When you leave your place in the Bay Area, it’s hard to come back, especially as an artist.’[/pullquote]In mid-March, Fulbright notified Lopez and some 30 other fellows in Brazil that they could continue receiving medical coverage and their stipend if they signed a waiver releasing the \u003ca href=\"https://eca.state.gov/fulbright\" rel=\"noopener noreferrer\" target=\"_blank\">Department of State-funded program\u003c/a> from liability. Lopez signed it. Days later, though, Fulbright walked back the option. “The order on the 20th said you have days before your health coverage runs out, and you’re not getting funded,” Lopez said. “Fulbright was totally unprepared.”\u003c/p>\n\u003cp>Fulbright has called participants’ health and safety its highest priority in the unprecedented program cancellation, which affects hundreds of fellows worldwide. But many fellows believe they were needlessly exposed, especially now that the United States vastly outpaces other countries in the number of confirmed cases. “By far the greatest worry we had about returning to the United States…was contracting COVID-19 while traveling,” Maia Evrona, a writer and Fulbright fellow studying in Greece and Spain, wrote in an \u003ca href=\"https://lareviewofbooks.org/short-takes/fulbright-covid-19/\">account\u003c/a> for the \u003cem>Los Angeles Review of Books\u003c/em>.\u003c/p>\n\u003cp>Grantees such as Lopez, meanwhile, are now left to recover work and housing in a spiraling economy. “When you leave your place in the Bay Area, it’s hard to come back, especially as an artist,” said Lopez, who’s staying with Sordahl near Joshua Tree. “The next payment is barely a month’s rent.” Lopez previously taught at the Community Music Center and San Francisco Waldorf High School; the music center will rehire him, but the hours aren’t guaranteed, and classes have migrated online. As a musician, his prospects for paid gigs are next to none.\u003c/p>\n\u003cfigure id=\"attachment_13878170\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg\" alt=\"Oxum Square at the Candomblé temple Casa Branca, where Lopez's teacher Jorge Alabê was initiated.\" width=\"1920\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-1020x724.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oxum Square at the Candomblé temple Casa Branca, where Lopez’s teacher Jorge Alabê was initiated. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Fulbright is paying stipends through June, fellows whose trips correspond with the school year are receiving most of the grant. Lopez, however, is among the fellows who started later, putting him out $6,346. At the end of April, he’s anticipating a final payment of $2,254. Receiving the alum title also stings—it implies there’s no option for him to renew his studies. Not long after recalling 2020 fellows, Fulbright began approving a new round of grantees for 2021.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The experience in Brazil only steeled his resolve to return. Lopez’s interest in the dance of Candomblé, not previously a research focus, grew immensely. His daily transcription practice clarified connections between Candomblé and other Afro-Atlantic religions. He also felt privileged to play support atabaque in a ceremony for the deity Oxúm at the Terreiro Pilão de Prata, he said. “Experiencing the songs, the dance, the trance—that’s what I was there for.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Lopez was only seven weeks into a nine-month Fulbright trip to Brazil, studying music of the syncretic religion Candomblé, when program officials told him to return to the United States.\u003c/p>\n\u003cp>The \u003ca href=\"https://robertlopezmusic.tumblr.com/bio\">Oakland percussionist\u003c/a> and \u003ca href=\"https://www.eastbayexpress.com/oakland/activemusic-series-provides-relaxed-atmosphere-for-strange-sounds/Content?oid=8276603\">improvised music scene fixture\u003c/a> was devastated. Lopez spent years pursuing the prestigious research grant, and he and his partner forfeited their jobs and rent-controlled apartment to move to Salvador, a center of the Afro-Brazilian spiritual practice. “I expected two or three months to plan re-entry,” Lopez said. “Instead it was a matter of days.”\u003c/p>\n\u003cp>Fulbright told Lopez and other grantees to leave Brazil on March 20 as the novel coronavirus escalated into a global pandemic, revoking his healthcare and withholding 41 percent of the $15,350 grant for living and travel expenses. Instead of enhancing safety, Lopez felt Fulbright actually heightened his exposure risk. “Flying back to the U.S., no one was screened,” he said.\u003c/p>\n\u003cp>It’s little consolation that Fulbright now considers Lopez a program alum. “That doesn’t mean anything to me right now,” he said. From temporary housing in the Southern California desert, where Lopez and his partner, experimental musician Shanna Sordahl, have self-quarantined, he’s joining with other Fulbrighters to write congresspeople, asking at least for the full stipend.\u003c/p>\n\u003cp>“But what I want more than anything is to go back to Brazil and finish this project,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg\" alt=\"Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13878169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_20200223_164832.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Atabaques, a type of hand drum used in Candomblé music, and yellow flowers symbolizing the deity Oxum. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez, 37, encountered the ensemble drumming of Candomblé, a religious expression borne of the Atlantic slave trade and Portuguese colonialism, as a Cal State Long Beach undergraduate on trips to Brazil with the World Percussion Project. He moved to the Bay Area in 2011 to pursue a graduate degree in the Mills College music department, and five years ago began studying independently with a master Candomblé percussionist and dancer in Oakland, \u003ca href=\"http://www.jorgealabe.com/about.html\">Jorge Alabê\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a Candomblé ceremony, musicians lead dancers in tributes to unique deities, known as orixás. The ensemble generally includes a bell player, two support drummers and a lead drummer playing atabaques, hand drums akin to congas. Lopez was moved by the atabaque’s dynamic range and the music’s fluid feel, especially the improvisational lead drum. Studying with Alabê, he grew skilled enough to support Candomblé dancers for educational and ceremonial purposes.\u003c/p>\n\u003cp>Lopez was fortunate to meet Alabê. Unlike idioms such as samba, master percussionists in the Candomblé tradition are rare outside of Brazil. At the same time, he noticed the music receiving little scholarly attention. He felt the pull of Salvador, a port city in the Bahia state considered sacred in the Candomblé faith, to gain cultural context. “Otherwise it’s like studying jazz coordination patterns on drums without hearing musicians interact in the moment,” Lopez said.\u003c/p>\n\u003cfigure id=\"attachment_13878237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RobertLopez.Inline-800x1064.jpg\" alt=\"Robert Lopez and Shanna Sordahl parading during Carnaval.\" width=\"600\" height=\"798\" class=\"size-medium wp-image-13878237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RobertLopez.Inline-768x1021.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Robert Lopez and Shanna Sordahl parading during Carnaval. \u003ccite>(Courtesy Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lopez first’s Fulbright application in 2017 was declined. He re-submitted in October of 2018, and was accepted last April. He learned conversational Portuguese, secured a university affiliation and made key inroads with practitioners in Salvador to prepare for the intensive ethnomusicological study. “I am on the cusp of having the knowledge and ability to take a leadership role in the transmission of Candomblé in the US,” he wrote in the project proposal.\u003c/p>\n\u003cp>For a short while, Lopez was on track to achieve his goals. He and Sordahl sublet the apartment of Rosangela Silvestre, a dancer he’d accompanied as a drummer in California. He received group and individual instruction most days at the Diáspora Art Center in Salvador and private studios from teachers including Nem Britto, Bira Santos, Iuri Passos, Ueslei “Totó” Cruz and Mario Pam. Lopez also developed a daily transcription practice, notating music traditionally taught by example.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In mid-March, Fulbright notified Lopez and some 30 other fellows in Brazil that they could continue receiving medical coverage and their stipend if they signed a waiver releasing the \u003ca href=\"https://eca.state.gov/fulbright\" rel=\"noopener noreferrer\" target=\"_blank\">Department of State-funded program\u003c/a> from liability. Lopez signed it. Days later, though, Fulbright walked back the option. “The order on the 20th said you have days before your health coverage runs out, and you’re not getting funded,” Lopez said. “Fulbright was totally unprepared.”\u003c/p>\n\u003cp>Fulbright has called participants’ health and safety its highest priority in the unprecedented program cancellation, which affects hundreds of fellows worldwide. But many fellows believe they were needlessly exposed, especially now that the United States vastly outpaces other countries in the number of confirmed cases. “By far the greatest worry we had about returning to the United States…was contracting COVID-19 while traveling,” Maia Evrona, a writer and Fulbright fellow studying in Greece and Spain, wrote in an \u003ca href=\"https://lareviewofbooks.org/short-takes/fulbright-covid-19/\">account\u003c/a> for the \u003cem>Los Angeles Review of Books\u003c/em>.\u003c/p>\n\u003cp>Grantees such as Lopez, meanwhile, are now left to recover work and housing in a spiraling economy. “When you leave your place in the Bay Area, it’s hard to come back, especially as an artist,” said Lopez, who’s staying with Sordahl near Joshua Tree. “The next payment is barely a month’s rent.” Lopez previously taught at the Community Music Center and San Francisco Waldorf High School; the music center will rehire him, but the hours aren’t guaranteed, and classes have migrated online. As a musician, his prospects for paid gigs are next to none.\u003c/p>\n\u003cfigure id=\"attachment_13878170\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg\" alt=\"Oxum Square at the Candomblé temple Casa Branca, where Lopez's teacher Jorge Alabê was initiated.\" width=\"1920\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MVIMG_20200216_124700-1020x724.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oxum Square at the Candomblé temple Casa Branca, where Lopez’s teacher Jorge Alabê was initiated. \u003ccite>(Robert Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because Fulbright is paying stipends through June, fellows whose trips correspond with the school year are receiving most of the grant. Lopez, however, is among the fellows who started later, putting him out $6,346. At the end of April, he’s anticipating a final payment of $2,254. Receiving the alum title also stings—it implies there’s no option for him to renew his studies. Not long after recalling 2020 fellows, Fulbright began approving a new round of grantees for 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The experience in Brazil only steeled his resolve to return. Lopez’s interest in the dance of Candomblé, not previously a research focus, grew immensely. His daily transcription practice clarified connections between Candomblé and other Afro-Atlantic religions. He also felt privileged to play support atabaque in a ceremony for the deity Oxúm at the Terreiro Pilão de Prata, he said. “Experiencing the songs, the dance, the trance—that’s what I was there for.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the era of social distancing, few celebrities have carved out a social-media presence as appealing as those of Emily Blunt and John Krasinski. They’re married, so they get to share their isolation — and they’ve been filling the time with a kindhearted weekly YouTube show they call \u003cem>Some Good News\u003c/em>.\u003c/p>\n\u003cp>As the title suggests, it’s a roundup — anchored by Krasinski, with input from special guests — of day-brightening stories about people doing good in the world. The show’s \u003ca href=\"https://www.youtube.com/watch?v=oilZ1hNZPRM\" rel=\"noopener noreferrer\" target=\"_blank\">second episode\u003c/a>, which posted late Sunday, rolls along amiably enough until about midway through, when Krasinski welcomes a 9-year-old named Aubrey.\u003c/p>\n\u003cp>Inspired by a tweet expressing sadness that Aubrey would have to miss her much-anticipated trip to see \u003cem>Hamilton\u003c/em> on Broadway, Krasinski and Blunt informed a starstruck Aubrey that they’d be flying her to see the show once Broadway reopens. But then, given that Blunt starred in \u003cem>Mary Poppins Returns\u003c/em> with one Lin-Manuel Miranda, they decided to top themselves.\u003c/p>\n\u003cp>The moment you can secure a quick break, be sure to strap in for this 17-minute explosion of goodhearted joy, courtesy of the stars of \u003cem>A Quiet Place —\u003c/em> and the entire (socially distanced) original cast of \u003cem>Hamilton\u003c/em>. \u003ca href=\"https://youtu.be/oilZ1hNZPRM?t=10m30s\" rel=\"noopener noreferrer\" target=\"_blank\">Lin-Manuel Miranda comes in at the 10:30 mark\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Cast+Reunites+For+Emily+Blunt%2C+John+Krasinski+And+One+Lucky+9-Year-Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the era of social distancing, few celebrities have carved out a social-media presence as appealing as those of Emily Blunt and John Krasinski. They’re married, so they get to share their isolation — and they’ve been filling the time with a kindhearted weekly YouTube show they call \u003cem>Some Good News\u003c/em>.\u003c/p>\n\u003cp>As the title suggests, it’s a roundup — anchored by Krasinski, with input from special guests — of day-brightening stories about people doing good in the world. The show’s \u003ca href=\"https://www.youtube.com/watch?v=oilZ1hNZPRM\" rel=\"noopener noreferrer\" target=\"_blank\">second episode\u003c/a>, which posted late Sunday, rolls along amiably enough until about midway through, when Krasinski welcomes a 9-year-old named Aubrey.\u003c/p>\n\u003cp>Inspired by a tweet expressing sadness that Aubrey would have to miss her much-anticipated trip to see \u003cem>Hamilton\u003c/em> on Broadway, Krasinski and Blunt informed a starstruck Aubrey that they’d be flying her to see the show once Broadway reopens. But then, given that Blunt starred in \u003cem>Mary Poppins Returns\u003c/em> with one Lin-Manuel Miranda, they decided to top themselves.\u003c/p>\n\u003cp>The moment you can secure a quick break, be sure to strap in for this 17-minute explosion of goodhearted joy, courtesy of the stars of \u003cem>A Quiet Place —\u003c/em> and the entire (socially distanced) original cast of \u003cem>Hamilton\u003c/em>. \u003ca href=\"https://youtu.be/oilZ1hNZPRM?t=10m30s\" rel=\"noopener noreferrer\" target=\"_blank\">Lin-Manuel Miranda comes in at the 10:30 mark\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Cast+Reunites+For+Emily+Blunt%2C+John+Krasinski+And+One+Lucky+9-Year-Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Lean On Me,’ ‘Lovely Day’ Singer Bill Withers Dies at 81",
"headTitle": "‘Lean On Me,’ ‘Lovely Day’ Singer Bill Withers Dies at 81 | KQED",
"content": "\u003cp>Bill Withers, who wrote and sang a string of soulful songs in the 1970s that have stood the test of time, including “ Lean on Me, ” “Lovely Day” and “Ain’t No Sunshine,” has died from heart complications, his family said in a statement to The Associated Press. He was 81.\u003c/p>\n\u003cp>The three-time Grammy Award winner, who withdrew from making music in the mid-1980s, died on Monday in Los Angeles, the statement said. His death comes as the public has drawn inspiration from his music during the coronavirus pandemic, with health care workers, choirs, artists and more posting their own renditions on “Lean on Me” to help get through the difficult times.\u003c/p>\n\u003cp>“We are devastated by the loss of our beloved, devoted husband and father. A solitary man with a heart driven to connect to the world at large, with his poetry and music, he spoke honestly to people and connected them to each other,” the family statement read. “As private a life as he lived close to intimate family and friends, his music forever belongs to the world. In this difficult time, we pray his music offers comfort and entertainment as fans hold tight to loved ones.”\u003c/p>\n\u003cp>Withers’ songs during his brief career have become the soundtracks of countless engagements, weddings and backyard parties. They have powerful melodies and perfect grooves melded with a smooth voice that conveys honesty and complex emotions without vocal acrobatics.\u003c/p>\n\u003cp>“Lean on Me,” a paean to friendship, was performed at the inaugurations of both Barack Obama and Bill Clinton. “Ain’t No Sunshine” and “Lean on Me” are among Rolling Stone’s list of the 500 Greatest Songs of All Time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CICIOJqEb5c\u003c/p>\n\u003cp>“He’s the last African-American Everyman,” musician and band leader Questlove told Rolling Stone in 2015. “Bill Withers is the closest thing black people have to a Bruce Springsteen.”\u003c/p>\n\u003cp>His death caused a torrent of appreciation on social media, including from former Obama adviser Valerie Jarrett, who said Withers’ music has been a cherished part of her life. “It added to my joy in the good times, and also gave me comfort and inspiration when I needed it most,” she tweeted. Singer José James said “we need his message of unity now more than ever” and Billy Dee Williams tweeted “your music cheered my heart and soothed my soul.”\u003c/p>\n\u003cp>“We lost a giant of songwriting today,” ASCAP President and Chairman Paul Williams said in a statement. “Bill Withers’ songs are among the most treasured and profound in the American songbook — universal in the way they touch people all over the world, transcending genre and generation. He was a beautiful man with a stunning sense of humor and a gift for truth.”\u003c/p>\n\u003cp>Withers, who overcame a childhood stutter, was born the last of six children in the coal mining town of Slab Fork, West Virginia. After his parents divorced when he was 3, Withers was raised by his mother’s family in nearby Beckley.\u003c/p>\n\u003cp>He joined the Navy at 17 and spent nine years in the service as an aircraft mechanic installing toilets. After his discharge, he moved to Los Angeles, worked at an aircraft parts factory, bought a guitar at a pawn shop and recorded demos of his tunes in hopes of landing a recording contract.\u003c/p>\n\u003cp>In 1971, signed to Sussex Records, he put out his first album, “Just As I Am,” with the legendary Booker T. Jones at the helm. It had the hits “Grandma’s Hands” and “Ain’t No Sunshine,” which was inspired by the Jack Lemmon film “Days of Wine and Roses.” He was photographed on the cover, smiling and holding his lunch pail.\u003c/p>\n\u003cp>“Ain’t No Sunshine” was originally released as the B-side of his debut single, “Harlem.” But radio DJs flipped the disc and the song climbed to No. 3 on the Billboard charts and spent a total of 16 weeks in the top 40.\u003c/p>\n\u003cp>Withers went on to generate more hits a year later with the inspirational “Lean on Me,” the menacing “Who Is He (and What Is He to You)” and the slinky “Use Me” on his second album, “Still Bill.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bEeaS6fuUoA\u003c/p>\n\u003cp>Later would come the striking “Lovely Day,” co-written with Skip Scarborough and featuring Withers holding the word “day” for almost 19 seconds, and “Just the Two Of Us,” co-written with Ralph MacDonald and William Salter. His “Live at Carnegie Hall” in 1973 made Rolling Stone’s 50 Greatest Live Albums of All Time.\u003c/p>\n\u003cp>“The hardest thing in songwriting is to be simple and yet profound. And Bill seemed to understand, intrinsically and instinctively, how to do that,” Sting said in “Still Bill,” a 2010 documentary of Withers.\u003c/p>\n\u003cp>But Withers’ career stalled when Sussex Records went bankrupt and he was scooped up by Columbia Records. He no longer had complete control over his music and chafed when it was suggested he do an Elvis cover. His new executives found Withers difficult.\u003c/p>\n\u003cp>None of his Columbia albums reached the Top 40 except for 1977’s “Menagerie,” which produced “Lovely Day.” (His hit duet with Grover Washington Jr. “Just the Two of Us” was on Washington’s label). Withers’ last album was 1985′s “Watching You Watching Me.”\u003c/p>\n\u003cp>Though his songs often dealt with relationships, Withers also wrote ones with social commentary, including “Better Off Dead” about an alcoholic’s suicide, and “I Can’t Write Left-Handed,” about an injured Vietnam War veteran.\u003c/p>\n\u003cp>He was awarded Grammys as a songwriter for “Ain’t No Sunshine” in 1971 and for “Just the Two Of Us” in 1981. In 1987, Bill received his ninth Grammy nomination and third Grammy as a songwriter for the re-recording of the 1972 hit “ Lean on Me” by Club Nouveau.\u003c/p>\n\u003cp>He was inducted into the Rock and Roll Hall of Fame in 2015 by Stevie Wonder. Withers thanked his wife as well as the R&B pioneers who helped his career like Ray Jackson, Al Bell and Booker T. Jones. He also got in a few jabs at the record industry, saying A&R stood for “antagonistic and redundant.” Withers also was inducted into the Songwriters Hall of Fame in 2005.\u003c/p>\n\u003cp>His music has been covered by such artists as Barbra Streisand, Michael Jackson, Aretha Franklin, Tom Jones, Linda Ronstadt, Paul McCartney, Sting, Johnny Mathis, Aaron Neville, Al Jarreau, Mick Jagger, Nancy Wilson, Diana Ross. His music has been sampled for BlackStreet’s “No Diggity,” Will Smith’s version of “ Just the Two Of Us, ” Black Eyed Peas’ “Bridging the Gap” and Twista’s “Sunshine.” The song “Lean on Me” was the title theme of a 1989 movie starring Morgan Freeman.\u003c/p>\n\u003cp>His songs are often used on the big screen, including “The Hangover,” “28 Days,” “American Beauty,” “Jerry Maguire,” “Crooklyn,” “Flight,” “Beauty Shop,” “The Secret Life of Pets” and “Flight.”\u003c/p>\n\u003cp>“I’m not a virtuoso, but I was able to write songs that people could identify with. 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"excerpt": "Withers, who wrote and sang a string of soulful songs in the 1970s that have stood the test of time, including “Lean On Me,” “Lovely Day” and “Ain’t No Sunshine,\" died in Los Angeles from heart complications on Monday, March 30, 2020. He was 81.",
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Singer José James said “we need his message of unity now more than ever” and Billy Dee Williams tweeted “your music cheered my heart and soothed my soul.”\u003c/p>\n\u003cp>“We lost a giant of songwriting today,” ASCAP President and Chairman Paul Williams said in a statement. “Bill Withers’ songs are among the most treasured and profound in the American songbook — universal in the way they touch people all over the world, transcending genre and generation. He was a beautiful man with a stunning sense of humor and a gift for truth.”\u003c/p>\n\u003cp>Withers, who overcame a childhood stutter, was born the last of six children in the coal mining town of Slab Fork, West Virginia. After his parents divorced when he was 3, Withers was raised by his mother’s family in nearby Beckley.\u003c/p>\n\u003cp>He joined the Navy at 17 and spent nine years in the service as an aircraft mechanic installing toilets. After his discharge, he moved to Los Angeles, worked at an aircraft parts factory, bought a guitar at a pawn shop and recorded demos of his tunes in hopes of landing a recording contract.\u003c/p>\n\u003cp>In 1971, signed to Sussex Records, he put out his first album, “Just As I Am,” with the legendary Booker T. Jones at the helm. It had the hits “Grandma’s Hands” and “Ain’t No Sunshine,” which was inspired by the Jack Lemmon film “Days of Wine and Roses.” He was photographed on the cover, smiling and holding his lunch pail.\u003c/p>\n\u003cp>“Ain’t No Sunshine” was originally released as the B-side of his debut single, “Harlem.” But radio DJs flipped the disc and the song climbed to No. 3 on the Billboard charts and spent a total of 16 weeks in the top 40.\u003c/p>\n\u003cp>Withers went on to generate more hits a year later with the inspirational “Lean on Me,” the menacing “Who Is He (and What Is He to You)” and the slinky “Use Me” on his second album, “Still Bill.”\u003c/p>\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/bEeaS6fuUoA'\n title='//www.youtube.com/embed/bEeaS6fuUoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later would come the striking “Lovely Day,” co-written with Skip Scarborough and featuring Withers holding the word “day” for almost 19 seconds, and “Just the Two Of Us,” co-written with Ralph MacDonald and William Salter. His “Live at Carnegie Hall” in 1973 made Rolling Stone’s 50 Greatest Live Albums of All Time.\u003c/p>\n\u003cp>“The hardest thing in songwriting is to be simple and yet profound. And Bill seemed to understand, intrinsically and instinctively, how to do that,” Sting said in “Still Bill,” a 2010 documentary of Withers.\u003c/p>\n\u003cp>But Withers’ career stalled when Sussex Records went bankrupt and he was scooped up by Columbia Records. He no longer had complete control over his music and chafed when it was suggested he do an Elvis cover. His new executives found Withers difficult.\u003c/p>\n\u003cp>None of his Columbia albums reached the Top 40 except for 1977’s “Menagerie,” which produced “Lovely Day.” (His hit duet with Grover Washington Jr. “Just the Two of Us” was on Washington’s label). Withers’ last album was 1985′s “Watching You Watching Me.”\u003c/p>\n\u003cp>Though his songs often dealt with relationships, Withers also wrote ones with social commentary, including “Better Off Dead” about an alcoholic’s suicide, and “I Can’t Write Left-Handed,” about an injured Vietnam War veteran.\u003c/p>\n\u003cp>He was awarded Grammys as a songwriter for “Ain’t No Sunshine” in 1971 and for “Just the Two Of Us” in 1981. In 1987, Bill received his ninth Grammy nomination and third Grammy as a songwriter for the re-recording of the 1972 hit “ Lean on Me” by Club Nouveau.\u003c/p>\n\u003cp>He was inducted into the Rock and Roll Hall of Fame in 2015 by Stevie Wonder. Withers thanked his wife as well as the R&B pioneers who helped his career like Ray Jackson, Al Bell and Booker T. Jones. He also got in a few jabs at the record industry, saying A&R stood for “antagonistic and redundant.” Withers also was inducted into the Songwriters Hall of Fame in 2005.\u003c/p>\n\u003cp>His music has been covered by such artists as Barbra Streisand, Michael Jackson, Aretha Franklin, Tom Jones, Linda Ronstadt, Paul McCartney, Sting, Johnny Mathis, Aaron Neville, Al Jarreau, Mick Jagger, Nancy Wilson, Diana Ross. His music has been sampled for BlackStreet’s “No Diggity,” Will Smith’s version of “ Just the Two Of Us, ” Black Eyed Peas’ “Bridging the Gap” and Twista’s “Sunshine.” The song “Lean on Me” was the title theme of a 1989 movie starring Morgan Freeman.\u003c/p>\n\u003cp>His songs are often used on the big screen, including “The Hangover,” “28 Days,” “American Beauty,” “Jerry Maguire,” “Crooklyn,” “Flight,” “Beauty Shop,” “The Secret Life of Pets” and “Flight.”\u003c/p>\n\u003cp>“I’m not a virtuoso, but I was able to write songs that people could identify with. I don’t think I’ve done bad for a guy from Slab Fork, West Virginia,” Withers told Rolling Stone in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Aneesa Strings has traveled the world playing the upright bass, but her story starts right here in Oakland.\u003c/p>\n\u003cp>Strings grew up playing in Oakland public schools and at a local nonprofit, Oaktown Jazz Workshops. She just released a single, called “\u003ca href=\"https://itunes.apple.com/us/album/lovealution-single/1454300709\">Lovealution\u003c/a>,” from her forthcoming second studio album. She says the song explores the validity of nature—the only thing, she likes to say, that’s not a scam.\u003c/p>\n\u003cp>Music is clearly Strings’ second nature, as she’s mastered the art of the upright bass, the piano and vocals. She’s performed as a background musician for L.A. rapper Ill Camille during \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\" target=\"_blank\" rel=\"noopener noreferrer\">an NPR Tiny Desk Concert last year\u003c/a>, and also played a major role in Duckwrth’s European tour in 2018. In 2109, Strings went on tour with jazz singer \u003ca href=\"http://www.josejamesmusic.com/#/tour\">José James.\u003c/a>\u003c/p>\n\u003cp>And Strings is scheduled to be in the SF Jazz collective this fall through spring 2021.\u003c/p>\n\u003cp>In between all of these movements, Strings was in Oakland for a stint, and I caught up with her to discuss her love for music and how she walks the tightrope between R&B and jazz. Click the link above to hear her story.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on March 8, 2019\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aneesa Strings has traveled the world playing the upright bass, but her story starts right here in Oakland.\u003c/p>\n\u003cp>Strings grew up playing in Oakland public schools and at a local nonprofit, Oaktown Jazz Workshops. She just released a single, called “\u003ca href=\"https://itunes.apple.com/us/album/lovealution-single/1454300709\">Lovealution\u003c/a>,” from her forthcoming second studio album. She says the song explores the validity of nature—the only thing, she likes to say, that’s not a scam.\u003c/p>\n\u003cp>Music is clearly Strings’ second nature, as she’s mastered the art of the upright bass, the piano and vocals. She’s performed as a background musician for L.A. rapper Ill Camille during \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\" target=\"_blank\" rel=\"noopener noreferrer\">an NPR Tiny Desk Concert last year\u003c/a>, and also played a major role in Duckwrth’s European tour in 2018. In 2109, Strings went on tour with jazz singer \u003ca href=\"http://www.josejamesmusic.com/#/tour\">José James.\u003c/a>\u003c/p>\n\u003cp>And Strings is scheduled to be in the SF Jazz collective this fall through spring 2021.\u003c/p>\n\u003cp>In between all of these movements, Strings was in Oakland for a stint, and I caught up with her to discuss her love for music and how she walks the tightrope between R&B and jazz. Click the link above to hear her story.\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on March 8, 2019\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dolly Parton once said: “The way I see it, if you want the rainbow, you gotta put up with the rain.”\u003c/p>\n\u003cp>Now Dolly—apparently conscious of the monsoon-level shitstorm we find ourselves in—has figured out how to be a rainbow for the whole world. She’s going to read us bedtime stories on the internet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3ia-ozHDaLs&feature=emb_logo\u003c/p>\n\u003cp>Dolly Parton has been a champion of children’s literature ever since she founded the \u003ca href=\"https://imaginationlibrary.com/about-us/\" target=\"_blank\" rel=\"noopener noreferrer\">Imagination Library\u003c/a> in 1995. Since that time, the organization has sent over 133 million books to kids in five different countries, entirely free of charge.\u003c/p>\n\u003cp>Starting on April 2, she’ll be reading a book from the library every week for 10 weeks. Tune in via \u003ca href=\"https://www.youtube.com/user/imaginationlibrary\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, \u003ca href=\"https://www.instagram.com/imaginationlibrary/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, \u003ca href=\"https://www.facebook.com/dollysimaginationlibrary/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> or \u003ca href=\"https://twitter.com/dollyslibrary\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a> this Thursday at 4pm for \u003cem>The Little Engine That Could. \u003c/em>(NB: It is perfectly acceptable to watch these videos whether you have kids or not. Dolly is incredibly soothing in times of woe, regardless of age.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll leave you with a tiny preview, in the form of this 2017 reading by Dolly of \u003cem>Coat of Many Colors. \u003c/em>Which, as you will see, she delivered while wearing a pink pantsuit clearly made of sunshine and magic.\u003c/p>\n\u003cp>Thank you, Dolly Parton.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yO-eL8Q9nus\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>The songwriter John Prine has been hospitalized for COVID-19 symptoms and “his situation is critical,” according to \u003ca href=\"https://www.instagram.com/p/B-VRdTABV0f/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> from the Prine family.\u003c/p>\n\u003cp>Prine, 73, was admitted to a hospital on Thursday last week, and was put on a ventilator Saturday evening, the statement reads. \u003c/p>\n\u003cp>Prine’s wife, Fiona, \u003ca href=\"https://www.wideopencountry.com/fiona-prine-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> that she had tested positive for the coronavirus on March 17. At the time, John’s test had come back “inconclusive.” \u003c/p>\n\u003cp>Read the statement from the family below. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Prine-800x864.jpg\" alt=\"\" width=\"800\" height=\"864\" class=\"aligncenter size-medium wp-image-13877733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-800x864.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-768x829.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-1020x1101.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Prine’s hospitalization comes four days after fellow songwriter Jackson Browne \u003ca href=\"https://www.rollingstone.com/music/music-news/jackson-browne-tests-positive-coronavirus-972713/\" rel=\"noopener noreferrer\" target=\"_blank\">tested positive\u003c/a> for the coronavirus. Earlier on Sunday, \u003ca href=\"https://www.wideopencountry.com/joe-diffie-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">country singer Joe Diffie died\u003c/a> due to coronavirus symptoms. \u003c/p>\n\u003cp>Prine’s latest album, released in 2018, is \u003cem>The Tree of Forgiveness\u003c/em>. “I think everybody needs a little forgiveness, I would think,” Prine told KQED at the time. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>Prine underwent hip surgery in February, and remarked that he was “looking forward to being back on the road,” a reference to his near-constant tour schedule.\u003c/p>\n\u003cp>Prine has also won two previous bouts with cancer: once in 1998 for throat cancer, and once in 2013 for lung cancer. \u003c/p>\n\u003cp>Prine and wife Fiona reside in Nashville.\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Update, March 30\u003c/strong>: On Monday, Fiona Prine reported that she has recovered from her coronavirus symptoms. In \u003ca href=\"https://twitter.com/FionaPrine/status/1244655527554138115\" rel=\"noopener noreferrer\" target=\"_blank\">a tweet\u003c/a>, she added: “We are humbled by the outpouring of love for me and John and our precious family. He is stable. Please continue to send your amazing love and prayers. Sing his songs. Stay home and wash hands. John loves you. I love you.”]\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The songwriter John Prine has been hospitalized for COVID-19 symptoms and “his situation is critical,” according to \u003ca href=\"https://www.instagram.com/p/B-VRdTABV0f/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> from the Prine family.\u003c/p>\n\u003cp>Prine, 73, was admitted to a hospital on Thursday last week, and was put on a ventilator Saturday evening, the statement reads. \u003c/p>\n\u003cp>Prine’s wife, Fiona, \u003ca href=\"https://www.wideopencountry.com/fiona-prine-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> that she had tested positive for the coronavirus on March 17. At the time, John’s test had come back “inconclusive.” \u003c/p>\n\u003cp>Read the statement from the family below. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Prine-800x864.jpg\" alt=\"\" width=\"800\" height=\"864\" class=\"aligncenter size-medium wp-image-13877733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-800x864.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-768x829.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-1020x1101.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Prine’s hospitalization comes four days after fellow songwriter Jackson Browne \u003ca href=\"https://www.rollingstone.com/music/music-news/jackson-browne-tests-positive-coronavirus-972713/\" rel=\"noopener noreferrer\" target=\"_blank\">tested positive\u003c/a> for the coronavirus. Earlier on Sunday, \u003ca href=\"https://www.wideopencountry.com/joe-diffie-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">country singer Joe Diffie died\u003c/a> due to coronavirus symptoms. \u003c/p>\n\u003cp>Prine’s latest album, released in 2018, is \u003cem>The Tree of Forgiveness\u003c/em>. “I think everybody needs a little forgiveness, I would think,” Prine told KQED at the time. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>Prine underwent hip surgery in February, and remarked that he was “looking forward to being back on the road,” a reference to his near-constant tour schedule.\u003c/p>\n\u003cp>Prine has also won two previous bouts with cancer: once in 1998 for throat cancer, and once in 2013 for lung cancer. \u003c/p>\n\u003cp>Prine and wife Fiona reside in Nashville.\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Update, March 30\u003c/strong>: On Monday, Fiona Prine reported that she has recovered from her coronavirus symptoms. In \u003ca href=\"https://twitter.com/FionaPrine/status/1244655527554138115\" rel=\"noopener noreferrer\" target=\"_blank\">a tweet\u003c/a>, she added: “We are humbled by the outpouring of love for me and John and our precious family. He is stable. Please continue to send your amazing love and prayers. Sing his songs. Stay home and wash hands. John loves you. I love you.”]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>arlier this week, Shingo “Shing02” Annen should have been performing at San Francisco’s Great American Music Hall with his band, the Chee-Hoos. For the past seven years, he has led “A Tribute to Nujabes,” an annual tour that honors his work with his late friend, the Japanese producer Jun “Seba” Yamada, better known as Nujabes (pronounced New-jah-base). Their March 26 and 27 concerts would have served as a small homecoming for an artist whose lifelong love of hip-hop culture began nearly three decades ago in the Bay Area.\u003c/p>\n\u003cp>Instead, the 44-year-old rapper is back at his home in Honolulu, Hawaii. In some ways, his band was lucky: they started the tour “riding on this cusp” of a wave of coronavirus-fueled venue closings that led to thousands of canceled concerts across the country. “We were the last bands to perform” at a given venue before it shut down, he explains. He and the Chee-Hoos managed to finish nearly half of their dates, including a show in New York and a final gig in Boston. [aside postid='arts_13876314']\u003c/p>\n\u003cp>Now, with their tour postponed indefinitely, they’ve scheduled a live-streamed \u003ca href=\"https://www.facebook.com/events/236142000770870/\" target=\"_blank\" rel=\"noopener noreferrer\">performance\u003c/a> on March 31 at 5pm PST.\u003c/p>\n\u003cp>Names like Shing02 and Nujabes may ring unfamiliar. Yet as collaborators, the two pioneered a sound that inspired the viral “chillhop” phenomenon, and popular YouTube programs like “\u003ca href=\"https://youtu.be/5qap5aO4i9A\" target=\"_blank\" rel=\"noopener noreferrer\">lofi hip hop radio – beats to relax/study to\u003c/a>,” an ongoing stream that gets tens of thousands of listeners at any given moment. A search on Spotify unveils dozens of playlists dedicated to Nujabes, who crafted lushly immersive arrangements of hip-hop, jazz fusion and house tracks before passing away on February 26, 2010 at the age of 36 in a Tokyo car accident.\u003c/p>\n\u003cp>https://youtu.be/wEo9mGWk6RA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A recent \u003ca href=\"https://genius.com/videos/How-nujabes-influenced-lo-fi-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">Genius.com video\u003c/a> on Nujabes’ influence points out how modern-day rappers as disparate as SahBabii, Jaden Smith and Joey Bada$$ have shouted him out in rhymes. Fans compare Nujabes’ to James “\u003ca href=\"https://www.npr.org/sections/ablogsupreme/2013/02/07/171349007/why-j-dilla-may-be-jazzs-latest-great-innovator\" target=\"_blank\" rel=\"noopener noreferrer\">J Dilla\u003c/a>” Yancey, another lauded beatmaker whose greatest impact came after his untimely 2006 death, at the age of at 32. “They both have the same birthday, [February 7],” says Shing02.\u003c/p>\n\u003cp>Together, Shing02 and Nujabes made fan favorites like the “Luv(sic)” 12-inch series, music for the Adult Swim anime hit \u003cem>Samurai Champloo\u003c/em> (Shing02 raps on the hero’s theme “Battlecry”), and Nujabes’ classic 2005 album, \u003cem>Modal Soul\u003c/em>.\u003c/p>\n\u003cp>“We happen to have the luxury and the privilege of being identified as one of the forefathers of this movement that started retroactively,” says Shing02. “[The Chee-Hoos] didn’t set out to do these tributes. From our end, it was done by popular demand.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore Shing02 connected with Nujabes, he was a Japanese émigré involved in the Bay Area indie rap scene. He remembers discovering hip-hop as a self-described “art kid” when his family moved to Menlo Park in 1989, and then getting schooled by classmates when he enrolled at the University of California, Berkeley as an engineering student in 1993.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4oT4YRVe43ESrT9rx2LKCM\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the early ’90s, Berkeley’s Telegraph Avenue thrived with independent hustle. Musicians circulated around record stores like Amoeba, Rasputin and the now-shuttered Leopold’s. Shing02 recalls the presence of local heroes like Del the Funky Homosapien (who he gifted with an illustration in 1994, leading to a friendship), Invisibl Skratch Piklz, Saafir and Hobo Junction, Fanatik, Rasco and Planet Asia.\u003c/p>\n\u003cp>“They would teach you the actual hustle of how to get records pressed or where to get blank tapes,” he recalls. “It was truly inspirational.”\u003c/p>\n\u003cp>Shing02 immersed himself. He drew album art for Living Legends and Kirby Dominant, submitted illustrations to local rap zines like Dave Paul’s \u003cem>Bomb\u003c/em> and the Legends’ \u003cem>Unsigned and Hella Broke\u003c/em>, and developed his own music. He recorded his first tape, \u003cem>Evolution of the MC/MC No Susume\u003c/em>, with local B-boy and musician Bas-1 and Japanese turntablist DJ $hin.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6nVACH6a27eOWiumAJhDWS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>That activity blossomed into a career that spans two languages and continents. Shing02’s strongest quality is as a conceptualist who uses images, lyrics and production to craft memorably esoteric ideas. Standout work like 1999’s bilingual \u003cem>Homo Caeruleus Cerinus\u003c/em> and last year’s Japanese-only \u003cem>246911\u003c/em> (with producer Spin Master A-1) reverberate in spite of potential linguistic differences. On the former, he retells the story of \u003cem>The Little Prince\u003c/em> with hauntingly meditative calm. Meanwhile, \u003cem>246911\u003c/em> is festooned with traditional Japanese drums and melodies and breakbeats.\u003c/p>\n\u003cp>He’s proficient at English and Japanese rapping, but in different ways. “As far as the English goes, I’m more of a writer than a crazy chopper,” he says. “As far as Japanese, it’s more a syllable language, so I can chop it up a lot more and be experimental with it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2000, Nujabes contacted Shing02 via email with a 12-inch proposal. The former owned a record store in Tokyo’s Shibuya district and a label, Hyde Out Productions. He was developing a reputation as a producer of jazzy, sampled beats by collaborating with American artists like Substantial, Pase Rock, and Apani B. “If you remember, this is the golden age of independent 12-inches,” says Shing02 of that era. “That was the only way you could gauge how popular your song was: how many represses you got and how thousands of vinyl you were able to press.”\u003c/p>\n\u003cp>Shing02 was already making semi-regular trips to Japan to visit his family and do business, so the two planned to meet in Tokyo. Nujabes gave him a tape of instrumentals, and one of the tracks reminded him of Common’s seminal 1994 lament about the death of positivity in hip-hop culture, “I Used to Love H.E.R.” That inspired their first collaboration, 2001’s “Luv(sic),” where Shing02 proclaimed he would “always love her” in spite of the genre’s convulsions.\u003c/p>\n\u003cfigure id=\"attachment_13877649\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/nujabes2.jpg\" alt=\"\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Nujabes. \u003ccite>(Yoshiharu Ota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to describe Nujabes personally, Shing02 responds, “He was very calm and introverted in a way. But he was very particular, I would say, and very meticulous with his process. He already had the environment of being a record store owner because of his family’s support. So he had access to massive amounts of records, and somehow he turned it into a viable business where he would set up his own label and sell his own records at his own store. At the core, I think he was like any other person, really fun-loving. Like, always looking for something to do.”\u003c/p>\n\u003cp>By September 2001, Shing02 was living in Japan working on his album, \u003cem>400\u003c/em>. “9/11 happened. I lost my ticket. I couldn’t go back to California,” he remembered. “Nujabes sent me a beat. He said, ‘Let’s do another collaboration.’” The resulting “Luv(sic) Part Two” showed that Nujabes had improved rapidly as a producer, learning how to sustain longer chords and develop a sound signature unique from the melodic throwback loops that marked his initial work. Shing02 responded with poetic thoughts about how the world was changing in the shadow of the World Trade Center attacks.\u003c/p>\n\u003cp>The third installment, “Luv(sic) Part 3,” appeared on Nujabes’ \u003cem>Modal Soul\u003c/em> as a protest against hip-hop’s increasing commercialization. Around the same time, Nujabes recruited Shing02 to make “Battlecry” for \u003cem>Samurai Champloo: Departure\u003c/em>. “I remember being in a shed in [Berkeley’s] Rockridge working on that song,” says Shing02. “I’m so fortunate that I even got the call to that. It’s a good look, if you will.”\u003c/p>\n\u003cp>https://youtu.be/Eq6EYcpWB_c\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the ensuing years, Shing02 relocated to Los Angeles, while Nujabes got married and had a child. The producer’s best-selling CDs inspired a horde of imitators who made “squeaky-clean,” adult contemporary variations. From his “bird’s-eye view,” Shing02 observes, “I think being the figurehead of the ‘jazzy hip-hop’ movement gave him a lot of pressure.” He adds, however, that Nujabes found new inspiration with multi-instrumentalist Uyama Hiroto, leading to a sound that was “a little bit next level. It was arranged better.” [aside postid='arts_13876020']\u003c/p>\n\u003cp>The two emailed a final time in January 2010. Nujabes expressed condolences for Shing02’s friend, a teenage L.A. beatboxer named Jeff Resurreccion who died from throat cancer. Shing02 responded, “I’m going to come over to your studio. I don’t care if I have to sleep there. Let’s bang these songs out.” A month later, Nujabes was gone.\u003c/p>\n\u003cp>Afterward, Shing02 and Uyama completed three more “Luv(sic)” installments for limited-edition vinyl. Parts 4 and 5 consisted of music he and Nujabes had discussed. The beat for “Luv(sic) Grand Finale” was found on Nujabes’ cellphone by his manager. In 2015, all of the tracks were compiled into the album \u003cem>Luv(sic) Hexalogy\u003c/em>.\u003c/p>\n\u003cp>“Luv(sic) Part 5” is especially poignant. Shing02’s first verse is a dedication to Jeff Resurreccion, while the second is for Nujabes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>By the way I got your letter, you said you were fed up\u003cbr>\nWell I second that, and I reckon that you tried\u003cbr>\nSo I don’t place the blame that you took the fifth\u003cbr>\nAnd the first flight out of town into the mist.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, with their tour postponed indefinitely, they’ve scheduled a live-streamed \u003ca href=\"https://www.facebook.com/events/236142000770870/\" target=\"_blank\" rel=\"noopener noreferrer\">performance\u003c/a> on March 31 at 5pm PST.\u003c/p>\n\u003cp>Names like Shing02 and Nujabes may ring unfamiliar. Yet as collaborators, the two pioneered a sound that inspired the viral “chillhop” phenomenon, and popular YouTube programs like “\u003ca href=\"https://youtu.be/5qap5aO4i9A\" target=\"_blank\" rel=\"noopener noreferrer\">lofi hip hop radio – beats to relax/study to\u003c/a>,” an ongoing stream that gets tens of thousands of listeners at any given moment. A search on Spotify unveils dozens of playlists dedicated to Nujabes, who crafted lushly immersive arrangements of hip-hop, jazz fusion and house tracks before passing away on February 26, 2010 at the age of 36 in a Tokyo car accident.\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/wEo9mGWk6RA'\n title='//www.youtube.com/embed/wEo9mGWk6RA'\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>A recent \u003ca href=\"https://genius.com/videos/How-nujabes-influenced-lo-fi-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">Genius.com video\u003c/a> on Nujabes’ influence points out how modern-day rappers as disparate as SahBabii, Jaden Smith and Joey Bada$$ have shouted him out in rhymes. Fans compare Nujabes’ to James “\u003ca href=\"https://www.npr.org/sections/ablogsupreme/2013/02/07/171349007/why-j-dilla-may-be-jazzs-latest-great-innovator\" target=\"_blank\" rel=\"noopener noreferrer\">J Dilla\u003c/a>” Yancey, another lauded beatmaker whose greatest impact came after his untimely 2006 death, at the age of at 32. “They both have the same birthday, [February 7],” says Shing02.\u003c/p>\n\u003cp>Together, Shing02 and Nujabes made fan favorites like the “Luv(sic)” 12-inch series, music for the Adult Swim anime hit \u003cem>Samurai Champloo\u003c/em> (Shing02 raps on the hero’s theme “Battlecry”), and Nujabes’ classic 2005 album, \u003cem>Modal Soul\u003c/em>.\u003c/p>\n\u003cp>“We happen to have the luxury and the privilege of being identified as one of the forefathers of this movement that started retroactively,” says Shing02. “[The Chee-Hoos] didn’t set out to do these tributes. From our end, it was done by popular demand.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore Shing02 connected with Nujabes, he was a Japanese émigré involved in the Bay Area indie rap scene. He remembers discovering hip-hop as a self-described “art kid” when his family moved to Menlo Park in 1989, and then getting schooled by classmates when he enrolled at the University of California, Berkeley as an engineering student in 1993.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4oT4YRVe43ESrT9rx2LKCM\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the early ’90s, Berkeley’s Telegraph Avenue thrived with independent hustle. Musicians circulated around record stores like Amoeba, Rasputin and the now-shuttered Leopold’s. Shing02 recalls the presence of local heroes like Del the Funky Homosapien (who he gifted with an illustration in 1994, leading to a friendship), Invisibl Skratch Piklz, Saafir and Hobo Junction, Fanatik, Rasco and Planet Asia.\u003c/p>\n\u003cp>“They would teach you the actual hustle of how to get records pressed or where to get blank tapes,” he recalls. “It was truly inspirational.”\u003c/p>\n\u003cp>Shing02 immersed himself. He drew album art for Living Legends and Kirby Dominant, submitted illustrations to local rap zines like Dave Paul’s \u003cem>Bomb\u003c/em> and the Legends’ \u003cem>Unsigned and Hella Broke\u003c/em>, and developed his own music. He recorded his first tape, \u003cem>Evolution of the MC/MC No Susume\u003c/em>, with local B-boy and musician Bas-1 and Japanese turntablist DJ $hin.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6nVACH6a27eOWiumAJhDWS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>That activity blossomed into a career that spans two languages and continents. Shing02’s strongest quality is as a conceptualist who uses images, lyrics and production to craft memorably esoteric ideas. Standout work like 1999’s bilingual \u003cem>Homo Caeruleus Cerinus\u003c/em> and last year’s Japanese-only \u003cem>246911\u003c/em> (with producer Spin Master A-1) reverberate in spite of potential linguistic differences. On the former, he retells the story of \u003cem>The Little Prince\u003c/em> with hauntingly meditative calm. Meanwhile, \u003cem>246911\u003c/em> is festooned with traditional Japanese drums and melodies and breakbeats.\u003c/p>\n\u003cp>He’s proficient at English and Japanese rapping, but in different ways. “As far as the English goes, I’m more of a writer than a crazy chopper,” he says. “As far as Japanese, it’s more a syllable language, so I can chop it up a lot more and be experimental with it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2000, Nujabes contacted Shing02 via email with a 12-inch proposal. The former owned a record store in Tokyo’s Shibuya district and a label, Hyde Out Productions. He was developing a reputation as a producer of jazzy, sampled beats by collaborating with American artists like Substantial, Pase Rock, and Apani B. “If you remember, this is the golden age of independent 12-inches,” says Shing02 of that era. “That was the only way you could gauge how popular your song was: how many represses you got and how thousands of vinyl you were able to press.”\u003c/p>\n\u003cp>Shing02 was already making semi-regular trips to Japan to visit his family and do business, so the two planned to meet in Tokyo. Nujabes gave him a tape of instrumentals, and one of the tracks reminded him of Common’s seminal 1994 lament about the death of positivity in hip-hop culture, “I Used to Love H.E.R.” That inspired their first collaboration, 2001’s “Luv(sic),” where Shing02 proclaimed he would “always love her” in spite of the genre’s convulsions.\u003c/p>\n\u003cfigure id=\"attachment_13877649\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/nujabes2.jpg\" alt=\"\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Nujabes. \u003ccite>(Yoshiharu Ota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to describe Nujabes personally, Shing02 responds, “He was very calm and introverted in a way. But he was very particular, I would say, and very meticulous with his process. He already had the environment of being a record store owner because of his family’s support. So he had access to massive amounts of records, and somehow he turned it into a viable business where he would set up his own label and sell his own records at his own store. At the core, I think he was like any other person, really fun-loving. Like, always looking for something to do.”\u003c/p>\n\u003cp>By September 2001, Shing02 was living in Japan working on his album, \u003cem>400\u003c/em>. “9/11 happened. I lost my ticket. I couldn’t go back to California,” he remembered. “Nujabes sent me a beat. He said, ‘Let’s do another collaboration.’” The resulting “Luv(sic) Part Two” showed that Nujabes had improved rapidly as a producer, learning how to sustain longer chords and develop a sound signature unique from the melodic throwback loops that marked his initial work. Shing02 responded with poetic thoughts about how the world was changing in the shadow of the World Trade Center attacks.\u003c/p>\n\u003cp>The third installment, “Luv(sic) Part 3,” appeared on Nujabes’ \u003cem>Modal Soul\u003c/em> as a protest against hip-hop’s increasing commercialization. Around the same time, Nujabes recruited Shing02 to make “Battlecry” for \u003cem>Samurai Champloo: Departure\u003c/em>. “I remember being in a shed in [Berkeley’s] Rockridge working on that song,” says Shing02. “I’m so fortunate that I even got the call to that. It’s a good look, if you will.”\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/Eq6EYcpWB_c'\n title='//www.youtube.com/embed/Eq6EYcpWB_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the ensuing years, Shing02 relocated to Los Angeles, while Nujabes got married and had a child. The producer’s best-selling CDs inspired a horde of imitators who made “squeaky-clean,” adult contemporary variations. From his “bird’s-eye view,” Shing02 observes, “I think being the figurehead of the ‘jazzy hip-hop’ movement gave him a lot of pressure.” He adds, however, that Nujabes found new inspiration with multi-instrumentalist Uyama Hiroto, leading to a sound that was “a little bit next level. It was arranged better.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two emailed a final time in January 2010. Nujabes expressed condolences for Shing02’s friend, a teenage L.A. beatboxer named Jeff Resurreccion who died from throat cancer. Shing02 responded, “I’m going to come over to your studio. I don’t care if I have to sleep there. Let’s bang these songs out.” A month later, Nujabes was gone.\u003c/p>\n\u003cp>Afterward, Shing02 and Uyama completed three more “Luv(sic)” installments for limited-edition vinyl. Parts 4 and 5 consisted of music he and Nujabes had discussed. The beat for “Luv(sic) Grand Finale” was found on Nujabes’ cellphone by his manager. In 2015, all of the tracks were compiled into the album \u003cem>Luv(sic) Hexalogy\u003c/em>.\u003c/p>\n\u003cp>“Luv(sic) Part 5” is especially poignant. Shing02’s first verse is a dedication to Jeff Resurreccion, while the second is for Nujabes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>By the way I got your letter, you said you were fed up\u003cbr>\nWell I second that, and I reckon that you tried\u003cbr>\nSo I don’t place the blame that you took the fifth\u003cbr>\nAnd the first flight out of town into the mist.\u003c/em>\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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"marketplace": {
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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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"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": {
"id": "possible",
"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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"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": {
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"reveal": {
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},
"rightnowish": {
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"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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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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