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"content": "\u003cp>[Updated March 10, 4:00pm]\u003c/p>\n\u003cp>Due to concerns about the coronavirus, the \u003ca href=\"https://www.coachella.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Coachella\u003c/a> music festival will move to two weekends in October, festival officials confirmed. Coachella’s new dates are Oct. 9–11 and Oct. 16–18.\u003c/p>\n\u003cp>The postponement of Coachella, California’s largest music festival, was originally leaked by booking agents and managers who received calls from festival organizers to confirm artists’ availability for the new dates. The official announcement came Tuesday afternoon from \u003ca href=\"https://www.goldenvoice.com/#/\" rel=\"noopener noreferrer\" target=\"_blank\">Goldenvoice\u003c/a>, which presents Coachella each year. [aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>Speculation about Coachella being canceled or postponed due to the coronavirus ramped up on Monday, when three cases of coronavirus were found in Riverside County, where Coachella is held. Last Friday, officials in Austin \u003ca href=\"https://www.kqed.org/arts/13876121/is-coachella-next-canceled-ultra-festival-sxsw-has-fans-worried-about-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">canceled this year’s South by Southwest festival\u003c/a>, citing public health concerns. Just days prior, organizers also canceled the Ultra music festival in Miami. \u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance at Coachella. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.billboard.com/articles/business/touring/9330145/coachella-stagecoach-move-festivals-october\" rel=\"noopener noreferrer\" target=\"_blank\">Billboard\u003c/a>, organizers on Monday speaking with county officials “hope[d] to know within the next 48 hours if the move is possible.”\u003c/p>\n\u003cp>Meanwhile, Goldenvoice’s Stagecoach festival, which, like Coachella, is also held at the polo grounds in Indio, is postponed and rescheduled to October as well.\u003c/p>\n\u003cp>Though October is generally hotter in temperature than April, it isn’t unprecedented to hold a festival in the month at the Coachella grounds. In 2016, Coachella organizers in October presented Desert Trip, a three-day festival marketed to the baby boomer generation featuring the Rolling Stones, the Who, Bob Dylan, Neil Young, Roger Waters and Paul McCartney. The first-ever Coachella, in 1999, was also held in October. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, those flying to Coachella are scrambling for airfare transfers. As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" rel=\"noopener noreferrer\" target=\"_blank\">reported by Vox\u003c/a>, several airlines are waiving some cancelation fees and change-of-travel fees. American, Alaska, United, Delta and JetBlue have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions, and the time of the ticket’s purchase, which may affect Coachella attendees. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[Updated March 10, 4:00pm]\u003c/p>\n\u003cp>Due to concerns about the coronavirus, the \u003ca href=\"https://www.coachella.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Coachella\u003c/a> music festival will move to two weekends in October, festival officials confirmed. Coachella’s new dates are Oct. 9–11 and Oct. 16–18.\u003c/p>\n\u003cp>The postponement of Coachella, California’s largest music festival, was originally leaked by booking agents and managers who received calls from festival organizers to confirm artists’ availability for the new dates. The official announcement came Tuesday afternoon from \u003ca href=\"https://www.goldenvoice.com/#/\" rel=\"noopener noreferrer\" target=\"_blank\">Goldenvoice\u003c/a>, which presents Coachella each year. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speculation about Coachella being canceled or postponed due to the coronavirus ramped up on Monday, when three cases of coronavirus were found in Riverside County, where Coachella is held. Last Friday, officials in Austin \u003ca href=\"https://www.kqed.org/arts/13876121/is-coachella-next-canceled-ultra-festival-sxsw-has-fans-worried-about-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">canceled this year’s South by Southwest festival\u003c/a>, citing public health concerns. Just days prior, organizers also canceled the Ultra music festival in Miami. \u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance at Coachella. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.billboard.com/articles/business/touring/9330145/coachella-stagecoach-move-festivals-october\" rel=\"noopener noreferrer\" target=\"_blank\">Billboard\u003c/a>, organizers on Monday speaking with county officials “hope[d] to know within the next 48 hours if the move is possible.”\u003c/p>\n\u003cp>Meanwhile, Goldenvoice’s Stagecoach festival, which, like Coachella, is also held at the polo grounds in Indio, is postponed and rescheduled to October as well.\u003c/p>\n\u003cp>Though October is generally hotter in temperature than April, it isn’t unprecedented to hold a festival in the month at the Coachella grounds. In 2016, Coachella organizers in October presented Desert Trip, a three-day festival marketed to the baby boomer generation featuring the Rolling Stones, the Who, Bob Dylan, Neil Young, Roger Waters and Paul McCartney. The first-ever Coachella, in 1999, was also held in October. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, those flying to Coachella are scrambling for airfare transfers. As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" rel=\"noopener noreferrer\" target=\"_blank\">reported by Vox\u003c/a>, several airlines are waiving some cancelation fees and change-of-travel fees. American, Alaska, United, Delta and JetBlue have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions, and the time of the ticket’s purchase, which may affect Coachella attendees. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Dynamic Miss Faye Carol is the East Bay's Hardest-Working Live Musician",
"headTitle": "The Dynamic Miss Faye Carol is the East Bay’s Hardest-Working Live Musician | KQED",
"content": "\u003cp>Active since the 1960s, the \u003ca href=\"https://www.fayecarol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamic Miss Faye Carol\u003c/a> is arguably the hardest-working live musician in the East Bay.\u003c/p>\n\u003cp>On a recent afternoon, we meet at \u003ca href=\"http://geoffreyslive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geoffrey’s Inner Circle\u003c/a> in Oakland, where she’s hosting weekly concerts throughout March that draw links between her jazz repertoire and blues, Latin jazz and even hip-hop, with collaborators such as percussionist Pete Escovedo, veteran bluesman Bobby Rush and rapper Mistah F.A.B. Dubbed \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Faye Carol & the Folks\u003c/a>, the program is just part of Carol’s 24/7, 365-day-a-year grind of rehearsing, promoting, performing and teaching—a grind she’s maintained for the last six decades.\u003c/p>\n\u003cp>“I do my own everything,” Carol tells me in her honeyed, resounding voice, and that includes her manicures. When we meet for our interview, she takes a seat on a regal, velvet chair in Geoffrey’s emerald-green hall, and pulls out a bottle of light pink nail polish to touch up an impressively lengthy fingernail on her ornately bejeweled hand.\u003c/p>\n\u003cp>In connecting jazz with the blues and hip-hop, Carol seeks to show the common black roots of American popular music. Her husband, the late scholar Jim Gamble, who was also her manager and musical director, taught a class at UC Berkeley called the Black History of Music. Early on in her career, Carol audited the course on a weekly basis, and it opened her eyes to the ways the African diaspora’s creative innovations have shaped virtually all popular genres.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of it as black music coming from that source, and then there are many flavors—just like if you cookin’,” she says. “Do you want to put some oregano in something, or do you wanna put some cayenne? It’s different flavors, different expressions coming from different parts of the country, different creative beings. They create differently, they hear differently. We are not a monolith.”\u003c/span>\u003c/p>\n\u003ch2>The Aftermath of the Harlem of the West\u003c/h2>\n\u003cp>If there’s one word to describe Faye Carol, it’s resilient. As a young girl, she moved to the East Bay town of Pittsburg from the segregated South. As a young adult in the 1960s, she was making a name for herself as a soul singer in West Oakland’s clubs, and even toured with Marvin Gaye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The music in the hood was so rich,” she says of West Oakland’s musical legacy. After World War II, the neighborhood, along with San Francisco’s historically black Fillmore district, was referred to as the Harlem of the West. That era came to a close after hundreds of black-owned homes and businesses were destroyed to make room for the post office, BART and the interstate freeway system. By the mid 1960s, the bustle of 7th Street’s nightlife district dwindled. [aside postid='arts_13809453']\u003c/p>\n\u003cp>This turbulent history deeply impacted Carol. So her choice to present Faye Carol & the Folks at Geoffrey’s, one of the last standing black-owned clubs in Oakland, was an intentional one. As she explains it, world-class jazz musicians\u003cspan style=\"font-weight: 400\"> “come to Yoshi’s or they come to SFJAZZ—which is fine, nothing wrong with that, I want them to continue to go to those places. But let’s add this place also. We don’t want to leave it out because it’s a viable, beautiful, wonderful, should-be-treasured place.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over time, you see [the music has] been dissipated out of the hood,” she laments, “to the point where we don’t have our own music in our own neighborhoods anymore.”\u003c/span>\u003c/p>\n\u003ch2>Reinvention in the Age of the AIDS Crisis\u003c/h2>\n\u003cp>In the 1970s, after the majority of West Oakland’s black clubs shut down, Carol’s love for the music continued to buoy her. She persisted and found a new niche: singing cabaret for the burgeoning gay community in the Castro, who, like her, were big fans of musical theater and show tunes. In the Castro, she gossiped on her breaks with trailblazing disco star Sylvester (of “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\" target=\"_blank\" rel=\"noopener noreferrer\">You Make Me Feel (Mighty Real\u003c/a>” fame), and established herself in a new scene. [aside postid=\"arts_13854644\"]\u003c/p>\n\u003cp>“I loved that so much, these was my babies,” she says. “They lived hard, they played hard, they worked hard and they enjoyed the finer things in life.”\u003c/p>\n\u003cp>But Carol’s new audience was hit by tragedy yet again—this time by the AIDS epidemic. “That’s still devastating to me,” she says. “It wiped—I’m telling you, girlfriend—it wiped \u003cem>everybody\u003c/em> out. All the people who owned the clubs, all the bartenders, all the waitresses, the people who came to the clubs. Everybody was just falling, falling, falling.” [aside postid='arts_13859408']\u003c/p>\n\u003cp>Yet, once again, Carol continued to persevere and adapt. In the ’80s, she performed with avant-garde saxophonist Pharoah Sanders and soul legend Ray Charles. In 1990, the City of Oakland chose her to sing for Nelson Mandela during a visit following his release from a 27-year sentence as a political prisoner. That decade, Carol deepened her collaboration with her daughter, pianist Kito Gamble (who joins the Faye Carol & the Folks bill on March 29), and the mother and daughter released an album together in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13876264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/IMG_4781-800x450.jpg\" alt=\"The Dynamic Miss Faye Carol and pianist Joe Warner.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dynamic Miss Faye Carol and pianist Joe Warner. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Musical Traditions to the Next Generation\u003c/h2>\n\u003cp>These days, Carol performs regularly around the East Bay at concert halls and private parties alike with a variety of ensembles. She also teaches singing in private lessons and at her \u003ca href=\"https://www.fayecarol.com/copy-of-school-of-the-getdown\" target=\"_blank\" rel=\"noopener noreferrer\">School of the Getdown\u003c/a>. In all of her projects, a constant is her pianist of nearly a decade, Joe Warner. Warner, a 27-year-old originally from the East Bay town of Martinez, first saw Carol perform when he was only 13 years old after his music teacher, saxophonist Howard Wiley (another Faye Carol protégé), brought him to Yoshi’s.\u003c/p>\n\u003cp>For Carol, the collaboration with Warner was unexpected given their ages and cultural differences. “I thought, how the hell am I gonna be with some white guy from Martinez?” she jokes, giving Warner a sly look. “But you know, with some people you just gel, and that’s the way we do.”\u003c/p>\n\u003cp>“She’s the holder of a lot of traditions that are no longer here or not as prevalent as they used to be,” says Warner with reverence. “It’s really unique and remarkable for an artist to be able to do all the different things she can—she can really sing gospel, she can really sing the blues, she’s really a jazz singer, she can scat. She knows about R&B and hip-hop and can adapt herself to that. And to put it all into really unique sound—you don’t really see anybody do that.”\u003c/p>\n\u003cp>Indeed, it’s that adaptability and embrace of younger generations that’s given Carol’s career its longevity—a longevity that sometimes even surprises the singer herself.\u003c/p>\n\u003cp>Her secret?\u003c/p>\n\u003cp>“Well, I’m pretty stubborn. I think it’s my right to do this—when you’re born you have certain inalienable rights,” she says. “When you’re not doing anything to harm anybody or to harm yourself, then you should have the right to do it. And I just fight to do it. That’s about what it is in a nutshell.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Faye Carol & the Folks takes place at Geoffrey’s Inner Circle on Sundays through March 29. The March 15 concert features Pete Escovedo, John Santos, Carolyn Brandy, and Jesus Diaz. On March 22, she performs with Mistah F.A.B., and on March 29, she performs with Bobby Rush and Kito Kamili. \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Active since the 1960s, the \u003ca href=\"https://www.fayecarol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamic Miss Faye Carol\u003c/a> is arguably the hardest-working live musician in the East Bay.\u003c/p>\n\u003cp>On a recent afternoon, we meet at \u003ca href=\"http://geoffreyslive.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Geoffrey’s Inner Circle\u003c/a> in Oakland, where she’s hosting weekly concerts throughout March that draw links between her jazz repertoire and blues, Latin jazz and even hip-hop, with collaborators such as percussionist Pete Escovedo, veteran bluesman Bobby Rush and rapper Mistah F.A.B. Dubbed \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Faye Carol & the Folks\u003c/a>, the program is just part of Carol’s 24/7, 365-day-a-year grind of rehearsing, promoting, performing and teaching—a grind she’s maintained for the last six decades.\u003c/p>\n\u003cp>“I do my own everything,” Carol tells me in her honeyed, resounding voice, and that includes her manicures. When we meet for our interview, she takes a seat on a regal, velvet chair in Geoffrey’s emerald-green hall, and pulls out a bottle of light pink nail polish to touch up an impressively lengthy fingernail on her ornately bejeweled hand.\u003c/p>\n\u003cp>In connecting jazz with the blues and hip-hop, Carol seeks to show the common black roots of American popular music. Her husband, the late scholar Jim Gamble, who was also her manager and musical director, taught a class at UC Berkeley called the Black History of Music. Early on in her career, Carol audited the course on a weekly basis, and it opened her eyes to the ways the African diaspora’s creative innovations have shaped virtually all popular genres.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think of it as black music coming from that source, and then there are many flavors—just like if you cookin’,” she says. “Do you want to put some oregano in something, or do you wanna put some cayenne? It’s different flavors, different expressions coming from different parts of the country, different creative beings. They create differently, they hear differently. We are not a monolith.”\u003c/span>\u003c/p>\n\u003ch2>The Aftermath of the Harlem of the West\u003c/h2>\n\u003cp>If there’s one word to describe Faye Carol, it’s resilient. As a young girl, she moved to the East Bay town of Pittsburg from the segregated South. As a young adult in the 1960s, she was making a name for herself as a soul singer in West Oakland’s clubs, and even toured with Marvin Gaye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This turbulent history deeply impacted Carol. So her choice to present Faye Carol & the Folks at Geoffrey’s, one of the last standing black-owned clubs in Oakland, was an intentional one. As she explains it, world-class jazz musicians\u003cspan style=\"font-weight: 400\"> “come to Yoshi’s or they come to SFJAZZ—which is fine, nothing wrong with that, I want them to continue to go to those places. But let’s add this place also. We don’t want to leave it out because it’s a viable, beautiful, wonderful, should-be-treasured place.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over time, you see [the music has] been dissipated out of the hood,” she laments, “to the point where we don’t have our own music in our own neighborhoods anymore.”\u003c/span>\u003c/p>\n\u003ch2>Reinvention in the Age of the AIDS Crisis\u003c/h2>\n\u003cp>In the 1970s, after the majority of West Oakland’s black clubs shut down, Carol’s love for the music continued to buoy her. She persisted and found a new niche: singing cabaret for the burgeoning gay community in the Castro, who, like her, were big fans of musical theater and show tunes. In the Castro, she gossiped on her breaks with trailblazing disco star Sylvester (of “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\" target=\"_blank\" rel=\"noopener noreferrer\">You Make Me Feel (Mighty Real\u003c/a>” fame), and established herself in a new scene. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I loved that so much, these was my babies,” she says. “They lived hard, they played hard, they worked hard and they enjoyed the finer things in life.”\u003c/p>\n\u003cp>But Carol’s new audience was hit by tragedy yet again—this time by the AIDS epidemic. “That’s still devastating to me,” she says. “It wiped—I’m telling you, girlfriend—it wiped \u003cem>everybody\u003c/em> out. All the people who owned the clubs, all the bartenders, all the waitresses, the people who came to the clubs. Everybody was just falling, falling, falling.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet, once again, Carol continued to persevere and adapt. In the ’80s, she performed with avant-garde saxophonist Pharoah Sanders and soul legend Ray Charles. In 1990, the City of Oakland chose her to sing for Nelson Mandela during a visit following his release from a 27-year sentence as a political prisoner. That decade, Carol deepened her collaboration with her daughter, pianist Kito Gamble (who joins the Faye Carol & the Folks bill on March 29), and the mother and daughter released an album together in 1996.\u003c/p>\n\u003cfigure id=\"attachment_13876264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/IMG_4781-800x450.jpg\" alt=\"The Dynamic Miss Faye Carol and pianist Joe Warner.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/IMG_4781.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dynamic Miss Faye Carol and pianist Joe Warner. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Musical Traditions to the Next Generation\u003c/h2>\n\u003cp>These days, Carol performs regularly around the East Bay at concert halls and private parties alike with a variety of ensembles. She also teaches singing in private lessons and at her \u003ca href=\"https://www.fayecarol.com/copy-of-school-of-the-getdown\" target=\"_blank\" rel=\"noopener noreferrer\">School of the Getdown\u003c/a>. In all of her projects, a constant is her pianist of nearly a decade, Joe Warner. Warner, a 27-year-old originally from the East Bay town of Martinez, first saw Carol perform when he was only 13 years old after his music teacher, saxophonist Howard Wiley (another Faye Carol protégé), brought him to Yoshi’s.\u003c/p>\n\u003cp>For Carol, the collaboration with Warner was unexpected given their ages and cultural differences. “I thought, how the hell am I gonna be with some white guy from Martinez?” she jokes, giving Warner a sly look. “But you know, with some people you just gel, and that’s the way we do.”\u003c/p>\n\u003cp>“She’s the holder of a lot of traditions that are no longer here or not as prevalent as they used to be,” says Warner with reverence. “It’s really unique and remarkable for an artist to be able to do all the different things she can—she can really sing gospel, she can really sing the blues, she’s really a jazz singer, she can scat. She knows about R&B and hip-hop and can adapt herself to that. And to put it all into really unique sound—you don’t really see anybody do that.”\u003c/p>\n\u003cp>Indeed, it’s that adaptability and embrace of younger generations that’s given Carol’s career its longevity—a longevity that sometimes even surprises the singer herself.\u003c/p>\n\u003cp>Her secret?\u003c/p>\n\u003cp>“Well, I’m pretty stubborn. I think it’s my right to do this—when you’re born you have certain inalienable rights,” she says. “When you’re not doing anything to harm anybody or to harm yourself, then you should have the right to do it. And I just fight to do it. That’s about what it is in a nutshell.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol & the Folks takes place at Geoffrey’s Inner Circle on Sundays through March 29. The March 15 concert features Pete Escovedo, John Santos, Carolyn Brandy, and Jesus Diaz. On March 22, she performs with Mistah F.A.B., and on March 29, she performs with Bobby Rush and Kito Kamili. \u003ca href=\"https://www.fayecarol.com/bio--photo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Northern California vineyards make bucolic settings for concerts, and B.R. Cohn Winery, just outside the Sonoma County town of Glen Ellen, is no exception. Its third annual \u003ca href=\"https://sonomaharvestmusicfestival.com/vendors/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Harvest Music Festival\u003c/a> just announced its 2020 lineup.\u003c/p>\n\u003cp>Taking place September 12–13 and 19–20 and presented by BottleRock, the festival features a slate of indie pop and rock heavyweights. The first weekend’s lineup includes synthpop bands Empire of the Sun and The Naked and Famous, chillwave duo Best Coast, plus Young the Giant, Grouplove, The Struts, X Ambassadors, Betty Who, Smallpools and The Wrecks.\u003c/p>\n\u003cp>Unlike other festivals where the second weekend is basically a rerun of the first, weekend two of Sonoma Harvest features a different group of acts: emo icons Dashboard Confessional, art rockers Modest Mouse and folkies Edward Sharpe and The Magnetic Zeros, as well as Fitz and The Tantrums, Bishop Briggs, Saint Motel, Joywave, Magic Giant, Yoke Lore and Almost Monday.\u003c/p>\n\u003cp>Festival capacity is limited to 4,000 attendees for a more intimate viewing experience, and—because this is wine country—there’s a wide selection of local wines, beers and fare from fine dining establishments such as Black Pig Meat Co., The Farmer’s Wife, Mariposa Ice Cream, William Tell House, and Oenotri.\u003c/p>\n\u003cp>Weekend passes go on sale on March 10, and single-day passes and VIP packages will become available at a later date. \u003ca href=\"https://sonomaharvestmusicfestival.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DHEOF_rcND8'\n title='//www.youtube.com/embed/DHEOF_rcND8'\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": "\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. [aside postid=\"arts_13876108,science_1957469\"]\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” [aside postid=\"arts_13876121\"]\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. [aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13876110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg\" alt=\"Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13876110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCoy Tyner, a pianist whose deep resonance, hammering attack and sublime harmonic invention made him a game-changing catalyst in jazz and beyond, died Friday, March 6, at his home in New Jersey. His death was confirmed by his manager. No cause of death was given. He was 81. \u003c/p>\n\u003cp>Tyner was the last surviving member of the John Coltrane Quartet, among the most momentous groups in jazz history. Few musicians have ever exerted as much influence as a sideman. His crucial role in the group’s articulation of modal harmony, from the early 1960s on, will always stand as a defining achievement: The ringing intervals in his left hand, often perfect fourths or fifths, became the cornerstone of a style that endures today. \u003c/p>\n\u003cp>But Tyner was always a more multidimensional musician than the sum of his mannerisms would seem to suggest. And he had a long, consequential post-Coltrane career as a composer and bandleader. Among his dozens of albums are a handful regarded as classics, like \u003cem>Reaching Fourth, The Real McCoy \u003c/em>and \u003cem>Atlantis\u003c/em>. A number of his compositions, including “Passion Dance” and “Peresina,” have entered the common repertory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yaPVbKglRu8\u003c/p>\n\u003cp>Alfred McCoy Tyner was born Dec. 11, 1938 in Philadelphia, the oldest child of Jarvis Tyner and the former Beatrice Stevenson. The oldest of three siblings, he began taking piano lessons at 13. Within a few years he was playing professionally in and around Philadelphia, as part of a modern jazz scene that was one of the most vibrant in the country. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1959, Tyner joined trumpeter Art Farmer and saxophonist Benny Golson in a group they called The Jazztet; he appeared on its first album, released the following year. That same year, 1960, Tyner played on Coltrane’s album \u003cem>My Favorite Things\u003c/em>; his tolling, meditative chords on the title track, a popular song borrowed from the hit Broadway musical \u003cem>The Sound of Music\u003c/em>, were a key part of its allure. \u003c/p>\n\u003cp>The classic John Coltrane Quartet — with Tyner, Jimmy Garrison on bass and Elvin Jones on drums — formally coalesced in 1962. For the next several years it created at a prodigious pace, recording landmark albums like \u003cem>Crescent \u003c/em>and \u003cem>A Love Supreme\u003c/em>, and setting a fearsome bar for intensity on the bandstand. Recordings like \u003cem>Live at Birdland \u003c/em>have been prized by generations of musicians and fans; in 2005 another live document, \u003cem>Live at the Half Note: One Down, One Up\u003c/em>, left another major impression, 40 years after its recording date. \u003c/p>\n\u003cp>Tyner stayed with Coltrane until soon after that recording, as the music grew more cacophonous, rhythmically abstract and untethered from root tonality. His piano chair was passed on to Alice Coltrane, who quickly made it her own.\u003c/p>\n\u003cp>“I was so immersed in the music when I was with John,” Tyner told me in 1997. “The influence was so great, and the roles we all played in that group were so powerful; you couldn’t divorce yourself from it just because you weren’t physically there. For a while there, all the horn players that were with me wanted to sound like John. So I deliberately started using alto sax instead of tenor, and other instruments, because I wanted to kind of try something different.”\u003c/p>\n\u003cp>https://youtu.be/EnQJsrUYb8Q\u003c/p>\n\u003cp>But the intrepid tone and earnest spiritualism in Coltrane’s music carried over into Tyner’s — especially during a feverish stretch in the 1970s, on a series of searching, Afrocentric albums like \u003cem>Extensions\u003c/em> and \u003cem>Sahara\u003c/em>. The critic Gary Giddins, \u003ca href=\"https://www.villagevoice.com/2019/12/11/jazz-wars-in-the-70s/?fbclid=IwAR0Cvhl1bgEvWjkbaawmIdSxsud5jjztvLIwsjUqvyO3Z69NXBUHTbLDr4M\">reflecting on the 1970s\u003c/a> in \u003cem>The Village Voice, \u003c/em>once pegged Tyner “the most influential pianist of the decade,” an assessment that could credibly be extended outside that frame.\u003c/p>\n\u003cp>Tyner was a 2002 NEA Jazz Master, and a five-time Grammy winner — most recently in 2004 for his album \u003cem>Illuminations\u003c/em>, featuring a band with trumpeter Terence Blanchard, alto saxophonist Gary Bartz, bassist Christian McBride and drummer Lewis Nash. He worked extensively in a trio format; one longtime working band had Avery Sharpe on bass and Aaron Scott on drums.\u003c/p>\n\u003cp>The legacy of Tyner’s pianism can be heard far and wide, in the music of everyone from salsa legend Eddie Palmieri to \u003cem>Late Show \u003c/em>bandleader Jon Batiste. His innovations in harmony, with their intimations of transcendence, form a standard proudly upheld by contemporary pianists like Nduduzo Makhathini, whose forthcoming Blue Note debut bears the influence unmistakably.\u003c/p>\n\u003cp>“I feel very honored, actually,” Tyner told me about the legions of pianists who have emulated his style. “I really do, because I think that if I could make a statement that makes a difference, and the influence could be preserved through the generations to come, that means that my stay here on earth has a meaning.”\u003c/p>\n\u003ch3>Stream Our In Memoriam Playlist\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5xzNO6v9SpMT4XD0zUQcYA\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\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=McCoy+Tyner%2C+Groundbreaking+Pianist+Of+20th+Century+Jazz%2C+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13876110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg\" alt=\"Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13876110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCoy Tyner, a pianist whose deep resonance, hammering attack and sublime harmonic invention made him a game-changing catalyst in jazz and beyond, died Friday, March 6, at his home in New Jersey. His death was confirmed by his manager. No cause of death was given. He was 81. \u003c/p>\n\u003cp>Tyner was the last surviving member of the John Coltrane Quartet, among the most momentous groups in jazz history. Few musicians have ever exerted as much influence as a sideman. His crucial role in the group’s articulation of modal harmony, from the early 1960s on, will always stand as a defining achievement: The ringing intervals in his left hand, often perfect fourths or fifths, became the cornerstone of a style that endures today. \u003c/p>\n\u003cp>But Tyner was always a more multidimensional musician than the sum of his mannerisms would seem to suggest. And he had a long, consequential post-Coltrane career as a composer and bandleader. Among his dozens of albums are a handful regarded as classics, like \u003cem>Reaching Fourth, The Real McCoy \u003c/em>and \u003cem>Atlantis\u003c/em>. A number of his compositions, including “Passion Dance” and “Peresina,” have entered the common repertory.\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/yaPVbKglRu8'\n title='//www.youtube.com/embed/yaPVbKglRu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Alfred McCoy Tyner was born Dec. 11, 1938 in Philadelphia, the oldest child of Jarvis Tyner and the former Beatrice Stevenson. The oldest of three siblings, he began taking piano lessons at 13. Within a few years he was playing professionally in and around Philadelphia, as part of a modern jazz scene that was one of the most vibrant in the country. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1959, Tyner joined trumpeter Art Farmer and saxophonist Benny Golson in a group they called The Jazztet; he appeared on its first album, released the following year. That same year, 1960, Tyner played on Coltrane’s album \u003cem>My Favorite Things\u003c/em>; his tolling, meditative chords on the title track, a popular song borrowed from the hit Broadway musical \u003cem>The Sound of Music\u003c/em>, were a key part of its allure. \u003c/p>\n\u003cp>The classic John Coltrane Quartet — with Tyner, Jimmy Garrison on bass and Elvin Jones on drums — formally coalesced in 1962. For the next several years it created at a prodigious pace, recording landmark albums like \u003cem>Crescent \u003c/em>and \u003cem>A Love Supreme\u003c/em>, and setting a fearsome bar for intensity on the bandstand. Recordings like \u003cem>Live at Birdland \u003c/em>have been prized by generations of musicians and fans; in 2005 another live document, \u003cem>Live at the Half Note: One Down, One Up\u003c/em>, left another major impression, 40 years after its recording date. \u003c/p>\n\u003cp>Tyner stayed with Coltrane until soon after that recording, as the music grew more cacophonous, rhythmically abstract and untethered from root tonality. His piano chair was passed on to Alice Coltrane, who quickly made it her own.\u003c/p>\n\u003cp>“I was so immersed in the music when I was with John,” Tyner told me in 1997. “The influence was so great, and the roles we all played in that group were so powerful; you couldn’t divorce yourself from it just because you weren’t physically there. For a while there, all the horn players that were with me wanted to sound like John. So I deliberately started using alto sax instead of tenor, and other instruments, because I wanted to kind of try something different.”\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/EnQJsrUYb8Q'\n title='//www.youtube.com/embed/EnQJsrUYb8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the intrepid tone and earnest spiritualism in Coltrane’s music carried over into Tyner’s — especially during a feverish stretch in the 1970s, on a series of searching, Afrocentric albums like \u003cem>Extensions\u003c/em> and \u003cem>Sahara\u003c/em>. The critic Gary Giddins, \u003ca href=\"https://www.villagevoice.com/2019/12/11/jazz-wars-in-the-70s/?fbclid=IwAR0Cvhl1bgEvWjkbaawmIdSxsud5jjztvLIwsjUqvyO3Z69NXBUHTbLDr4M\">reflecting on the 1970s\u003c/a> in \u003cem>The Village Voice, \u003c/em>once pegged Tyner “the most influential pianist of the decade,” an assessment that could credibly be extended outside that frame.\u003c/p>\n\u003cp>Tyner was a 2002 NEA Jazz Master, and a five-time Grammy winner — most recently in 2004 for his album \u003cem>Illuminations\u003c/em>, featuring a band with trumpeter Terence Blanchard, alto saxophonist Gary Bartz, bassist Christian McBride and drummer Lewis Nash. He worked extensively in a trio format; one longtime working band had Avery Sharpe on bass and Aaron Scott on drums.\u003c/p>\n\u003cp>The legacy of Tyner’s pianism can be heard far and wide, in the music of everyone from salsa legend Eddie Palmieri to \u003cem>Late Show \u003c/em>bandleader Jon Batiste. His innovations in harmony, with their intimations of transcendence, form a standard proudly upheld by contemporary pianists like Nduduzo Makhathini, whose forthcoming Blue Note debut bears the influence unmistakably.\u003c/p>\n\u003cp>“I feel very honored, actually,” Tyner told me about the legions of pianists who have emulated his style. “I really do, because I think that if I could make a statement that makes a difference, and the influence could be preserved through the generations to come, that means that my stay here on earth has a meaning.”\u003c/p>\n\u003ch3>Stream Our In Memoriam Playlist\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5xzNO6v9SpMT4XD0zUQcYA\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\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=McCoy+Tyner%2C+Groundbreaking+Pianist+Of+20th+Century+Jazz%2C+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "CANCELED: Matisse’s Cut-Outs Inspire Performance at Mills College",
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"content": "\u003cp>\u003ci>This performance has been postponed, with hopes of rescheduling for a date in May. The exhibition of Matisse’s artwork remains on view in Slide Space 123 Gallery. For more, see \u003ca href=\"https://mcam.mills.edu/events/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>It’s a story of art inspiring art inspiring art. Henrí Matisse’s joyful paper compositions, which the artist began making in the 1940s with painted paper and a pair of scissors, inform an afternoon performance at the Mills College Art Museum featuring choreographer \u003ca href=\"http://www.molissafenley.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Molissa Fenley\u003c/a>, poet \u003ca href=\"http://bobholman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bob Holman\u003c/a> and composer \u003ca href=\"http://keithpatchel.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Keith Patchel\u003c/a>. \u003c/p>\n\u003cp>Where to start untangling this web of associations? Let’s begin with Holman, founder of New York’s Bowery Poetry Club and the author of 17 poetry collections. Inspired by Matisse’s work, he wrote the 2017 chapbook \u003ci>The Cutouts (Matisse)\u003c/i>, poetic descriptions of and extrapolations from the artist’s final years of work. \u003c/p>\n\u003cp>Then, composer Patchel set the suite of poems to music, creating a “songspiel” that includes lines like “snip, snip” and “Time for lunch, Henri / So eat your breakfast / Blue apple / Green coffee / Yellow fingers,” sometimes sung, sometimes spoken, to a background of spare piano and strings.\u003c/p>\n\u003cp>Enter Fenley (a Mills alum), a choreographer, performer and longtime Holman collaborator, to bring the whole thing into three-dimensional, bodily space. In an earlier performance of \u003ci>The Cut-Outs\u003c/i> at Stanford’s Anderson Collection, Fenley embodied the angular poses of the figures in Matisse’s \u003ci>Jazz\u003c/i> suite, freeing them from their static stances with graceful, sweeping gestures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as a bonus to all this live, person-to-person transmission of Matisse’s works, the college’s own \u003ci>Jazz Suite\u003c/i> prints will be on display in \u003ca href=\"https://mcam.mills.edu/exhibitions/upcoming.php\" rel=\"noopener noreferrer\" target=\"_blank\">Slide Space 123 Gallery\u003c/a>, just a short walk from the performance space in Rothwell Theater, on view March 13–15. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This performance has been postponed, with hopes of rescheduling for a date in May. The exhibition of Matisse’s artwork remains on view in Slide Space 123 Gallery. For more, see \u003ca href=\"https://mcam.mills.edu/events/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>It’s a story of art inspiring art inspiring art. Henrí Matisse’s joyful paper compositions, which the artist began making in the 1940s with painted paper and a pair of scissors, inform an afternoon performance at the Mills College Art Museum featuring choreographer \u003ca href=\"http://www.molissafenley.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Molissa Fenley\u003c/a>, poet \u003ca href=\"http://bobholman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bob Holman\u003c/a> and composer \u003ca href=\"http://keithpatchel.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Keith Patchel\u003c/a>. \u003c/p>\n\u003cp>Where to start untangling this web of associations? Let’s begin with Holman, founder of New York’s Bowery Poetry Club and the author of 17 poetry collections. Inspired by Matisse’s work, he wrote the 2017 chapbook \u003ci>The Cutouts (Matisse)\u003c/i>, poetic descriptions of and extrapolations from the artist’s final years of work. \u003c/p>\n\u003cp>Then, composer Patchel set the suite of poems to music, creating a “songspiel” that includes lines like “snip, snip” and “Time for lunch, Henri / So eat your breakfast / Blue apple / Green coffee / Yellow fingers,” sometimes sung, sometimes spoken, to a background of spare piano and strings.\u003c/p>\n\u003cp>Enter Fenley (a Mills alum), a choreographer, performer and longtime Holman collaborator, to bring the whole thing into three-dimensional, bodily space. In an earlier performance of \u003ci>The Cut-Outs\u003c/i> at Stanford’s Anderson Collection, Fenley embodied the angular poses of the figures in Matisse’s \u003ci>Jazz\u003c/i> suite, freeing them from their static stances with graceful, sweeping gestures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as a bonus to all this live, person-to-person transmission of Matisse’s works, the college’s own \u003ci>Jazz Suite\u003c/i> prints will be on display in \u003ca href=\"https://mcam.mills.edu/exhibitions/upcoming.php\" rel=\"noopener noreferrer\" target=\"_blank\">Slide Space 123 Gallery\u003c/a>, just a short walk from the performance space in Rothwell Theater, on view March 13–15. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">canceled\u003c/a> due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Australian band Tame Impala has fans from just about every musical scene and subculture—that even includes pop superstar Rihanna, who \u003ca href=\"https://www.youtube.com/watch?v=x57ZM02NhF0\" target=\"_blank\" rel=\"noopener noreferrer\">covered\u003c/a> their track “\u003ca href=\"https://www.youtube.com/watch?v=tEXYfT_G0W0\" target=\"_blank\" rel=\"noopener noreferrer\">New Person, Same Old Mistakes\u003c/a>” on her acclaimed 2016 album, \u003cem>ANTI\u003c/em>.\u003c/p>\n\u003cp>After a five-year gap between albums, Tame Impala’s new project \u003cem>The Slow Rush\u003c/em> finds bandleader Kevin Parker weaving hip-hop drums and house music’s exuberant pulse into his expansive, psychedelic rock. \u003cem>The Slow Rush\u003c/em> has a smoother, more pop-oriented approach than Parker’s previous releases, but that doesn’t make it generic.\u003c/p>\n\u003cp>The multi-instrumentalist’s omnivorous tastes lead each track to surprising places, like the pensive “\u003ca href=\"https://www.youtube.com/watch?v=44lWO3qhQMk\" target=\"_blank\" rel=\"noopener noreferrer\">Posthumous Forgiveness\u003c/a>.” The song is full of tense, building surf-guitar riffs as Parker contemplates his complicated relationship with a father who wasn’t there for him, ultimately coming to an understanding of him as a man. The track’s R&B coda resolves the tension and brings a sense of peace that mirrors Parker’s emotional journey in the lyrics.\u003c/p>\n\u003cp>In the studio, Parker mostly works alone, but Tame Impala’s live shows bring out his music’s complex layers and sentimental undercurrents with a full band and stunning visuals. (At Treasure Island Music Festival in Oakland two years ago, they bathed the stage in a trippy light show and then showered the audience in confetti.) Tame Impala performs Friday, March 13, at the Chase Center in San Francisco. \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/utCjuKDXQsE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">canceled\u003c/a> due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Australian band Tame Impala has fans from just about every musical scene and subculture—that even includes pop superstar Rihanna, who \u003ca href=\"https://www.youtube.com/watch?v=x57ZM02NhF0\" target=\"_blank\" rel=\"noopener noreferrer\">covered\u003c/a> their track “\u003ca href=\"https://www.youtube.com/watch?v=tEXYfT_G0W0\" target=\"_blank\" rel=\"noopener noreferrer\">New Person, Same Old Mistakes\u003c/a>” on her acclaimed 2016 album, \u003cem>ANTI\u003c/em>.\u003c/p>\n\u003cp>After a five-year gap between albums, Tame Impala’s new project \u003cem>The Slow Rush\u003c/em> finds bandleader Kevin Parker weaving hip-hop drums and house music’s exuberant pulse into his expansive, psychedelic rock. \u003cem>The Slow Rush\u003c/em> has a smoother, more pop-oriented approach than Parker’s previous releases, but that doesn’t make it generic.\u003c/p>\n\u003cp>The multi-instrumentalist’s omnivorous tastes lead each track to surprising places, like the pensive “\u003ca href=\"https://www.youtube.com/watch?v=44lWO3qhQMk\" target=\"_blank\" rel=\"noopener noreferrer\">Posthumous Forgiveness\u003c/a>.” The song is full of tense, building surf-guitar riffs as Parker contemplates his complicated relationship with a father who wasn’t there for him, ultimately coming to an understanding of him as a man. The track’s R&B coda resolves the tension and brings a sense of peace that mirrors Parker’s emotional journey in the lyrics.\u003c/p>\n\u003cp>In the studio, Parker mostly works alone, but Tame Impala’s live shows bring out his music’s complex layers and sentimental undercurrents with a full band and stunning visuals. (At Treasure Island Music Festival in Oakland two years ago, they bathed the stage in a trippy light show and then showered the audience in confetti.) Tame Impala performs Friday, March 13, at the Chase Center in San Francisco. \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Donning floral gasmasks and brandishing liberty torches against an apocalyptic, ombré pink landscape, \u003ca href=\"https://www.npr.org/artists/180622559/natalie-maines\">Natalie Maines\u003c/a>, Emily Robison and Martie Maguire look ready for battle. And that’s just the promotional photo.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15399450/dixie-chicks\" target=\"_blank\" rel=\"noopener noreferrer\">Dixie Chicks\u003c/a> has never left our consciousness. The trio’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future\" target=\"_blank\" rel=\"noopener noreferrer\">collaborated with Beyoncé\u003c/a>, \u003ca href=\"https://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener noreferrer\">sold out stadiums\u003c/a>, has been \u003ca href=\"https://www.npr.org/2018/10/11/656485202/hear-soccer-mommys-reflective-cover-of-dixie-chicks-wide-open-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">covered by young indie-rock artists\u003c/a> and recently \u003ca href=\"https://www.youtube.com/watch?v=tMoW5G5LU08\" target=\"_blank\" rel=\"noopener noreferrer\">took Taylor Swift back to her roots\u003c/a>. They are “\u003ca href=\"https://www.npr.org/2020/01/06/793951296/from-dixie-chicks-to-rihanna-our-music-predictions-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">heroes to a whole generation of country listeners and artists\u003c/a>,” NPR Music’s Ann Powers told \u003cem>All Things Considered\u003c/em> in January, but they haven’t released a studio album in 14 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sbVPcPL30xc\u003c/p>\n\u003cp>Co-produced by the band and Jack Antonoff—who have all teased the album for the past two years on social media—\u003cem>Gaslighter\u003c/em> will, finally, come out May 1 via \u003ca href=\"https://dixiechicks.lnk.to/GaslighterPSPAID\" target=\"_blank\" rel=\"noopener noreferrer\">Columbia Records\u003c/a>.\u003c/p>\n\u003cp>The powerful title track, out today with a video directed by Seanne Farmer, will stir the hearts of Dixie Chicks fans with the trio’s rumbling harmonies. “Gaslighter, I’m your mirror / Standing right here until you can see how / You broke me / Yeah, I’m broken,” Maines sings in a reflective section until, in perfect Maines fashion, she explodes with defiant rage: “You’re still sorry and there’s still no apology.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dixie Chicks 2020—y’all, we’re ready.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dixie+Chicks+Announce+First+Album+In+14+Years%2C+%27Gaslighter%2C%27+Share+Title+Track&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9FQ6GqA02F/\u003c/p>\n\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>A song fuses words and music. Yet the human brain can instantly separate a song’s lyrics from its melody.\u003c/p>\n\u003cp>And now scientists think they know how this happens.\u003c/p>\n\u003cp>A team led by researchers at McGill University \u003ca href=\"https://science.sciencemag.org/cgi/doi/10.1126/science.aaz3468\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in \u003cem>Science\u003c/em> Thursday that song sounds are processed simultaneously by two separate brain areas—one in the left hemisphere and one in the right.\u003c/p>\n\u003cp>“On the left side you can decode the speech content but not the melodic content, and on the right side you can decode the melodic content but not the speech content,” says \u003ca href=\"https://www.mcgill.ca/neuro/robert-zatorre-phd\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Zatorre\u003c/a>, a professor at McGill University’s Montreal Neurological Institute.\u003c/p>\n\u003cp>The finding explains something doctors have observed in stroke patients for decades, says \u003ca href=\"https://www.mpg.de/914530/Daniela_Sammler\" target=\"_blank\" rel=\"noopener noreferrer\">Daniela Sammler\u003c/a>, a researcher at the Max Planck Institute for Cognition and Neurosciences in Leipzig, Germany, who was not involved in the study.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you have a stroke in the left hemisphere you are much more likely to have a language impairment than if you have a stroke in the right hemisphere,” Sammler says. Moreover, brain damage to certain areas of the right hemisphere can affect a person’s ability to perceive music.\u003c/p>\n\u003cp>The study was inspired by songbirds, Zatorre says.\u003c/p>\n\u003cp>Studies show that their brains decode sounds using two separate measures. One assesses how quickly a sound fluctuates over time. The other detects the frequencies in a sound.\u003c/p>\n\u003cp>“We thought, hey, maybe that’s what the human brain does too,” Zatorre says.\u003c/p>\n\u003cp>To find out, the team got help from a composer and a soprano. And they created lots of a cappella songs that were just a few seconds long.\u003c/p>\n\u003cp>Then the team used a computer to alter the recordings. Sometimes they removed information about sound frequencies, which produced a breathy voice a bit like Darth Vader’s.\u003c/p>\n\u003cp>“The speech is perfectly comprehensible, but all the melody is essentially gone,” Zatorre says.\u003c/p>\n\u003cp>Other songs were altered to remove information about how the sound changed over time. That sounds a bit like someone humming a sentence rather than singing the words.\u003c/p>\n\u003cp>“You can still perceive the melody but you can no longer tell what the speech is,” Zatorre says.\u003c/p>\n\u003cp>Armed with hundreds of altered song fragments, recorded in both English and French, the team set out to learn how a human brain would process these sounds.\u003c/p>\n\u003cp>The scientists played them for 49 people while an \u003ca href=\"http://fmri.ucsd.edu/Research/whatisfmri.html\" target=\"_blank\" rel=\"noopener noreferrer\">fMRI scanner\u003c/a> monitored brain activity. And it turned out that the people decoded sounds the same way songbirds do, by separating a sound’s time-related elements from the frequencies it contains, and processing the information using two different groups of specialized brain cells.\u003c/p>\n\u003cp>As a result, when we hear a song, it engages both hemispheres of the brain in a way that’s different than either speech or music alone, Zatorre says.\u003c/p>\n\u003cp>“That might be why [songs are] especially prominent and especially meaningful” in cultures around the globe, Zatorre says.\u003c/p>\n\u003cp>But it’s not just songs that require both hemispheres working together, Sammler says. That process is necessary to fully experience any type of sound.\u003c/p>\n\u003cp>Also, the brain circuits involved probably existed before human language appeared, Sammer says.\u003c/p>\n\u003cp>“Charles Darwin said the languages that we use today emerged from something that was a song-like proto-language,” she says.\u003c/p>\n\u003cp>Now that there’s good evidence a song takes two separate paths through the brain, researchers will need to figure out how the brain combines those twin streams of information into a coherent listening experience, Sammler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We perceive the song as a song, right?” she says. “It’s one thing and it’s not like a speech stream or a melody stream.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Brain+Teases+Apart+A+Song%27s+Words+And+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you have a stroke in the left hemisphere you are much more likely to have a language impairment than if you have a stroke in the right hemisphere,” Sammler says. Moreover, brain damage to certain areas of the right hemisphere can affect a person’s ability to perceive music.\u003c/p>\n\u003cp>The study was inspired by songbirds, Zatorre says.\u003c/p>\n\u003cp>Studies show that their brains decode sounds using two separate measures. One assesses how quickly a sound fluctuates over time. The other detects the frequencies in a sound.\u003c/p>\n\u003cp>“We thought, hey, maybe that’s what the human brain does too,” Zatorre says.\u003c/p>\n\u003cp>To find out, the team got help from a composer and a soprano. And they created lots of a cappella songs that were just a few seconds long.\u003c/p>\n\u003cp>Then the team used a computer to alter the recordings. Sometimes they removed information about sound frequencies, which produced a breathy voice a bit like Darth Vader’s.\u003c/p>\n\u003cp>“The speech is perfectly comprehensible, but all the melody is essentially gone,” Zatorre says.\u003c/p>\n\u003cp>Other songs were altered to remove information about how the sound changed over time. That sounds a bit like someone humming a sentence rather than singing the words.\u003c/p>\n\u003cp>“You can still perceive the melody but you can no longer tell what the speech is,” Zatorre says.\u003c/p>\n\u003cp>Armed with hundreds of altered song fragments, recorded in both English and French, the team set out to learn how a human brain would process these sounds.\u003c/p>\n\u003cp>The scientists played them for 49 people while an \u003ca href=\"http://fmri.ucsd.edu/Research/whatisfmri.html\" target=\"_blank\" rel=\"noopener noreferrer\">fMRI scanner\u003c/a> monitored brain activity. And it turned out that the people decoded sounds the same way songbirds do, by separating a sound’s time-related elements from the frequencies it contains, and processing the information using two different groups of specialized brain cells.\u003c/p>\n\u003cp>As a result, when we hear a song, it engages both hemispheres of the brain in a way that’s different than either speech or music alone, Zatorre says.\u003c/p>\n\u003cp>“That might be why [songs are] especially prominent and especially meaningful” in cultures around the globe, Zatorre says.\u003c/p>\n\u003cp>But it’s not just songs that require both hemispheres working together, Sammler says. That process is necessary to fully experience any type of sound.\u003c/p>\n\u003cp>Also, the brain circuits involved probably existed before human language appeared, Sammer says.\u003c/p>\n\u003cp>“Charles Darwin said the languages that we use today emerged from something that was a song-like proto-language,” she says.\u003c/p>\n\u003cp>Now that there’s good evidence a song takes two separate paths through the brain, researchers will need to figure out how the brain combines those twin streams of information into a coherent listening experience, Sammler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We perceive the song as a song, right?” she says. “It’s one thing and it’s not like a speech stream or a melody stream.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Brain+Teases+Apart+A+Song%27s+Words+And+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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