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"content": "\u003cp>It’s week three of California’s shelter-in-place order due to the spread of COVID-19. How deep into your childhood memories are you by now?\u003c/p>\n\u003cp>Old photos. Ancient notebooks. Video games you haven’t played since the second grade. How about that TV show you used to watch back in the day?\u003c/p>\n\u003cp>Luckily for me, and many others of a certain age and locale, there’s an Instagram page paying homage to the old school Bay Area TV station that hosted shows, music videos and Oakland culture.\u003c/p>\n\u003cp>Soul Beat TV, one of the nation’s first African American-owned TV Networks—which ran from \u003ca href=\"https://www.sfgate.com/bayarea/article/Oaklanders-calling-for-return-of-Soul-Beat-2510067.php\" target=\"_blank\" rel=\"noopener noreferrer\">1978–2003\u003c/a>, and which was filmed and broadcast from East Oakland—has been revived \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">in Instagram form\u003c/a>. Grainy videos from the early ’90s, cheesy commercials and comical crank calls from the era that I called a childhood have been made readily accessible.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9b3SoNBM3J/\u003c/p>\n\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySQmXtwz-AI\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. [ad floatright]\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4RB41Dn9Vg\u003c/p>\n\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B9ackH-hXGr/\u003c/p>\n\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s week three of California’s shelter-in-place order due to the spread of COVID-19. How deep into your childhood memories are you by now?\u003c/p>\n\u003cp>Old photos. Ancient notebooks. Video games you haven’t played since the second grade. How about that TV show you used to watch back in the day?\u003c/p>\n\u003cp>Luckily for me, and many others of a certain age and locale, there’s an Instagram page paying homage to the old school Bay Area TV station that hosted shows, music videos and Oakland culture.\u003c/p>\n\u003cp>Soul Beat TV, one of the nation’s first African American-owned TV Networks—which ran from \u003ca href=\"https://www.sfgate.com/bayarea/article/Oaklanders-calling-for-return-of-Soul-Beat-2510067.php\" target=\"_blank\" rel=\"noopener noreferrer\">1978–2003\u003c/a>, and which was filmed and broadcast from East Oakland—has been revived \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">in Instagram form\u003c/a>. Grainy videos from the early ’90s, cheesy commercials and comical crank calls from the era that I called a childhood have been made readily accessible.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\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/ySQmXtwz-AI'\n title='//www.youtube.com/embed/ySQmXtwz-AI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\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/T4RB41Dn9Vg'\n title='//www.youtube.com/embed/T4RB41Dn9Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bob Dylan surprised fans late Thursday night with the release of the epic “Murder Most Foul,” a long, delicate song about the assassination of President John F. Kennedy.\u003c/p>\n\u003cp>In a short post on his website, Dylan provided little information about the song’s origin, and wished his fans well: “This is an unreleased song we recorded a while back that you might find interesting. Stay safe, stay observant, and may God be with you.” \u003ca href=\"http://www.bobdylan.com/\">The post\u003c/a> includes a formal portrait of President Kennedy. Stylistically, it evokes \u003ca href=\"https://www.npr.org/2012/09/11/160892713/bob-dylans-baffling-and-sometimes-beautiful-tempest\">\u003cem>Tempest\u003c/em>\u003c/a>\u003cem> \u003c/em>(2012) or even \u003ca href=\"https://www.npr.org/transcripts/5725823?storyId=5725823?storyId=5725823\">\u003cem>Modern Times\u003c/em>\u003c/a>\u003cem> \u003c/em>(2006).\u003c/p>\n\u003cp>The song unfolds slowly over a delicate instrumental backing of violin, piano and hushed percussion. Dylan’s vocal is rich and expressive as he veers between describing the assassination, the unfolding of the counterculture, and a roll call of musicians, movie lyrics and other pop culture references. \u003c/p>\n\u003cp>At almost 17 minutes, “Murder Most Foul” is Dylan’s longest song. The lyrics are sometimes playful, especially in its final minutes, but overall this is Dylan at his most incisive and cutting: “What’s new pussycat? What’d I say? / I said the soul of a nation been torn away / And it’s beginning to go into a slow decay / And that it’s 36 hours past Judgment Day.” It’s worth many repeated listens and will occupy any Dylanologist holed up at home. \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=Bob+Dylan+Releases+Epic+New+Song%2C+%27Murder+Most+Foul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bob Dylan surprised fans late Thursday night with the release of the epic “Murder Most Foul,” a long, delicate song about the assassination of President John F. Kennedy.\u003c/p>\n\u003cp>In a short post on his website, Dylan provided little information about the song’s origin, and wished his fans well: “This is an unreleased song we recorded a while back that you might find interesting. Stay safe, stay observant, and may God be with you.” \u003ca href=\"http://www.bobdylan.com/\">The post\u003c/a> includes a formal portrait of President Kennedy. Stylistically, it evokes \u003ca href=\"https://www.npr.org/2012/09/11/160892713/bob-dylans-baffling-and-sometimes-beautiful-tempest\">\u003cem>Tempest\u003c/em>\u003c/a>\u003cem> \u003c/em>(2012) or even \u003ca href=\"https://www.npr.org/transcripts/5725823?storyId=5725823?storyId=5725823\">\u003cem>Modern Times\u003c/em>\u003c/a>\u003cem> \u003c/em>(2006).\u003c/p>\n\u003cp>The song unfolds slowly over a delicate instrumental backing of violin, piano and hushed percussion. Dylan’s vocal is rich and expressive as he veers between describing the assassination, the unfolding of the counterculture, and a roll call of musicians, movie lyrics and other pop culture references. \u003c/p>\n\u003cp>At almost 17 minutes, “Murder Most Foul” is Dylan’s longest song. The lyrics are sometimes playful, especially in its final minutes, but overall this is Dylan at his most incisive and cutting: “What’s new pussycat? What’d I say? / I said the soul of a nation been torn away / And it’s beginning to go into a slow decay / And that it’s 36 hours past Judgment Day.” It’s worth many repeated listens and will occupy any Dylanologist holed up at home. \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=Bob+Dylan+Releases+Epic+New+Song%2C+%27Murder+Most+Foul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Three Decades After a Forgotten Demo, Musician Prophet Makes a Comeback",
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"content": "\u003cp>The first thing that may strike listeners about \u003ca href=\"https://www.stonesthrow.com/artist/prophet/\" target=\"_blank\" rel=\"noopener noreferrer\">Prophet\u003c/a>’s 2020 album, \u003cem>Don’t Forget It\u003c/em>, is how fresh, even young it sounds. There’s a sweet yearning to his voice that mixes with the electronic bite, shimmering guitar and crisp, funky punch. The sound suggests a new figure on the scene finding a path among a generation that happily mixes styles from further back.\u003c/p>\n\u003cp>But \u003cem>Don’t Forget It\u003c/em>, released at the end of January on the influential \u003ca href=\"https://www.stonesthrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stones Throw Records\u003c/a>, isn’t the work of an industry newcomer, but of a veteran musician whose work was nearly forgotten for decades.\u003c/p>\n\u003cp>“I just try to stay young at heart basically,” Prophet says with easy confidence in a phone interview from Los Angeles. “I just stay in tune with music events that are going on with the youth, but doing it in my own way. They are the ones that are really supporting music in a large way right now.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1771736739/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Prophet originally came to San Francisco in the mid 1970s from Baton Rouge, Louisiana, following up on an extensive classical music education at home with a growing love for bass guitar. His first gigs were with a military band and then a tour with a Top 40 cover group. His 1984 album \u003cem>Right On Time\u003c/em>, a home demo pressed into a short run on his own Treasure Records, didn’t get the major label attention he’d hoped for, leaving Prophet to continue work in a variety of Bay Area bands for the next decade and a half while the vinyl run disappeared into consignment at various record stores.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prophet finally left San Francisco in 1999 to return to Baton Rouge to take care of his mother, and remained there for almost fifteen years. He regularly performed with Louisiana soul, funk and reggae legend \u003ca href=\"http://www.henryturnerjr.com/bio.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Henry Turner Jr.\u003c/a> and his group & Flavor. Meanwhile, \u003cem>Right On Time\u003c/em>’s underground reputation grew with crate-digging record collectors—chief among them Stones Throw founder, \u003ca href=\"https://www.stonesthrow.com/artist/pbwolf/\" target=\"_blank\" rel=\"noopener noreferrer\">Peanut Butter Wolf\u003c/a>, who wondered what had happened to the talented musician.\u003c/p>\n\u003cp>“Somebody contacted me out of the blue searching for my whereabouts because they found this album by this guy named Prophet and they were trying to find me,” he remembers. “So they suggested that I move out here to L.A. because there were people excited about the \u003cem>Right on Time\u003c/em> record. So it was just a matter of me packing my bags and coming on out this way.”\u003c/p>\n\u003cfigure id=\"attachment_13876059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg\" alt=\"After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records. \u003ccite>(Frank Horn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That soon led to a meeting with Peanut Butter Wolf—at the Stones Throw booth at a record fair, appropriately enough—and various live shows in Southern California. In 2018, Prophet released his first album in 34 years: \u003cem>Wanna Be Your Man\u003c/em>, a collaboration with hip-hop producer and neo-soul singer-songwriter Mndsgn. \u003c/p>\n\u003cp>The project was an intriguing blend of Prophet’s continuing musical interests and Mndsgn’s beat explorations, but Prophet had some reservations.\u003c/p>\n\u003cp>“I never really actually worked with a record producer before,” Prophet recalls. “It’s alright, it’s just that it’s not totally you. It’s partially you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xUtV8TMGW6s\u003c/p>\n\u003cp>For \u003cem>Don’t Forget It\u003c/em>, Prophet decided to go it alone. “I knew it would be better for me eventually to just write and produce a record on my own because that way it’ll be me fully,” he continues.\u003c/p>\n\u003cp>The subtle power of Prophet’s arrangements stand out from his early work to the present day. On \u003cem>Don’t Forget It\u003c/em>, there’s the slick, precise way the keys rise and fall on “In My Ear”; his vocals have a gentle touch, backed up by a warm and sweetly sly organ on the chorus. His voice on “Think About It” rides a bubbling, murmuring mixture of pulses, with low tones and a sense of space. The album has a deeply human feel that’s comfortable among the technology but never subsumed by it. \u003cspan style=\"font-weight: 400\">[aside postID=\"arts_13869513,arts_13875256,arts_13875068\" label=\"More music stories\"]\u003c/span>\u003c/p>\n\u003cp>“I let the music actually dictate what I’m going to sing to it,” Prophet explains of his creative process. “I really don’t like dabbling and switching parts, thinking maybe I should do this or maybe I should do that. Once it’s there, it’s there, and it’s up to me to create everything else about the song.”\u003c/p>\n\u003cp>The strength of \u003cem>Don’t Forget It\u003c/em> lies in a steady work ethic: Prophet estimates he drew the track list from somewhere around 100 songs, something he attributes to his constant activity in his home studio.\u003c/p>\n\u003cp>His future goals (once California’s shelter-in-place ordinance is lifted) include doing more work on the live front, currently a stripped down affair with himself and a DJ, as well as continuing to record. He speaks of wanting to travel more and take his sound to different places he’s not yet been, but confesses that when it comes to big-picture plans, ultimately for him the focus remains on the sounds he wants to bring to life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As far as outside of the music business, I don’t know, man,” he reflects. “It’s really about just being able to take care of myself, basically. But outside of that, I haven’t really thought about it, because if I do think about it then I may start to feel like I’ve let myself down and [am] abandoning the music.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing that may strike listeners about \u003ca href=\"https://www.stonesthrow.com/artist/prophet/\" target=\"_blank\" rel=\"noopener noreferrer\">Prophet\u003c/a>’s 2020 album, \u003cem>Don’t Forget It\u003c/em>, is how fresh, even young it sounds. There’s a sweet yearning to his voice that mixes with the electronic bite, shimmering guitar and crisp, funky punch. The sound suggests a new figure on the scene finding a path among a generation that happily mixes styles from further back.\u003c/p>\n\u003cp>But \u003cem>Don’t Forget It\u003c/em>, released at the end of January on the influential \u003ca href=\"https://www.stonesthrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stones Throw Records\u003c/a>, isn’t the work of an industry newcomer, but of a veteran musician whose work was nearly forgotten for decades.\u003c/p>\n\u003cp>“I just try to stay young at heart basically,” Prophet says with easy confidence in a phone interview from Los Angeles. “I just stay in tune with music events that are going on with the youth, but doing it in my own way. They are the ones that are really supporting music in a large way right now.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1771736739/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Prophet originally came to San Francisco in the mid 1970s from Baton Rouge, Louisiana, following up on an extensive classical music education at home with a growing love for bass guitar. His first gigs were with a military band and then a tour with a Top 40 cover group. His 1984 album \u003cem>Right On Time\u003c/em>, a home demo pressed into a short run on his own Treasure Records, didn’t get the major label attention he’d hoped for, leaving Prophet to continue work in a variety of Bay Area bands for the next decade and a half while the vinyl run disappeared into consignment at various record stores.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prophet finally left San Francisco in 1999 to return to Baton Rouge to take care of his mother, and remained there for almost fifteen years. He regularly performed with Louisiana soul, funk and reggae legend \u003ca href=\"http://www.henryturnerjr.com/bio.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Henry Turner Jr.\u003c/a> and his group & Flavor. Meanwhile, \u003cem>Right On Time\u003c/em>’s underground reputation grew with crate-digging record collectors—chief among them Stones Throw founder, \u003ca href=\"https://www.stonesthrow.com/artist/pbwolf/\" target=\"_blank\" rel=\"noopener noreferrer\">Peanut Butter Wolf\u003c/a>, who wondered what had happened to the talented musician.\u003c/p>\n\u003cp>“Somebody contacted me out of the blue searching for my whereabouts because they found this album by this guy named Prophet and they were trying to find me,” he remembers. “So they suggested that I move out here to L.A. because there were people excited about the \u003cem>Right on Time\u003c/em> record. So it was just a matter of me packing my bags and coming on out this way.”\u003c/p>\n\u003cfigure id=\"attachment_13876059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg\" alt=\"After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records. \u003ccite>(Frank Horn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That soon led to a meeting with Peanut Butter Wolf—at the Stones Throw booth at a record fair, appropriately enough—and various live shows in Southern California. In 2018, Prophet released his first album in 34 years: \u003cem>Wanna Be Your Man\u003c/em>, a collaboration with hip-hop producer and neo-soul singer-songwriter Mndsgn. \u003c/p>\n\u003cp>The project was an intriguing blend of Prophet’s continuing musical interests and Mndsgn’s beat explorations, but Prophet had some reservations.\u003c/p>\n\u003cp>“I never really actually worked with a record producer before,” Prophet recalls. “It’s alright, it’s just that it’s not totally you. It’s partially you.”\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/xUtV8TMGW6s'\n title='//www.youtube.com/embed/xUtV8TMGW6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003cem>Don’t Forget It\u003c/em>, Prophet decided to go it alone. “I knew it would be better for me eventually to just write and produce a record on my own because that way it’ll be me fully,” he continues.\u003c/p>\n\u003cp>The subtle power of Prophet’s arrangements stand out from his early work to the present day. On \u003cem>Don’t Forget It\u003c/em>, there’s the slick, precise way the keys rise and fall on “In My Ear”; his vocals have a gentle touch, backed up by a warm and sweetly sly organ on the chorus. His voice on “Think About It” rides a bubbling, murmuring mixture of pulses, with low tones and a sense of space. The album has a deeply human feel that’s comfortable among the technology but never subsumed by it. \u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cp>Social distancing means it’s a good time to pick up new skills—like becoming an expert on classical music.\u003c/p>\n\u003cp>Because concerts are off for at least the next few weeks, the San Francisco Symphony has made all episodes of its \u003ca href=\"https://www.keepingscore.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Keeping Score\u003c/em>\u003c/a> docu-series free to watch on YouTube. Created in 2004 with musical director Michael Tilson Thomas, the show tells the stories of eight influential composers, including Pyotr Tchaikovsky, Ludwig van Beethoven, Gustav Mahler and Aaron Copland.\u003c/p>\n\u003cp>Delving into deeper narratives behind these household names, \u003cem>Keeping Score\u003c/em> answers questions like, how did Copland combine influences from jazz, blues and the European orchestral tradition to create a uniquely American sound? And, how did political censorship during the Soviet Union’s Stalinist era change the style of Dmitri Shostakovich? In addition to fascinating stories from the composers’ lives, the series features world-class performances from the San Francisco Symphony.\u003c/p>\n\u003cp>New episodes come out every Wednesday through April 8 on the San Francisco Symphony’s \u003ca href=\"https://www.youtube.com/user/sfsymphony\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ix2xIl2XVro\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Venues all over California are closed right now due to the state’s shelter-in-place ordinance, but one San Francisco institution will stay that way permanently. Boz Scaggs, the owner of Slim’s, revealed today that the storied San Francisco nightclub will not reopen after over 30 years in business.\u003c/p>\n\u003cp>“Slim’s had its day,” Scaggs \u003ca href=\"https://datebook.sfchronicle.com/music/slims-to-close-after-more-than-three-decades-at-heart-of-sfs-music-scene#\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, explaining that plans to close had been in the works since last year.\u003c/p>\n\u003cp>“It was a long-term decision based on things that had nothing to do with the current situation,” he added.\u003c/p>\n\u003cp>Slim’s opened in 1988 as a juke joint that focused on R&B, jazz and blues, and quickly became one of San Francisco’s most famous clubs with an ever-evolving repertoire of genres. Sun Ra, Pearl Jam, Green Day, Radiohead, Prince and Snoop Dogg were just some of the greats who performed there, and the mid-sized venue became known as an intimate setting where fans could catch touring acts and up-and-coming local bands alike.\u003c/p>\n\u003cp>An era ended at the club when longtime manager Dawn Holliday retired in 2017. In 2018, promotions giant Goldenvoice, which presents Coachella, \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">took control of booking\u003c/a> at Slim’s as well as at sister venue the Great American Music Hall, laying off some longtime staff.\u003c/p>\n\u003cp>Scaggs told the \u003cem>Chronicle\u003c/em> that the Great American Music Hall will remain open, where Slim’s staff will have jobs once the shelter-in-place order is lifted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Venues all over California are closed right now due to the state’s shelter-in-place ordinance, but one San Francisco institution will stay that way permanently. Boz Scaggs, the owner of Slim’s, revealed today that the storied San Francisco nightclub will not reopen after over 30 years in business.\u003c/p>\n\u003cp>“Slim’s had its day,” Scaggs \u003ca href=\"https://datebook.sfchronicle.com/music/slims-to-close-after-more-than-three-decades-at-heart-of-sfs-music-scene#\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, explaining that plans to close had been in the works since last year.\u003c/p>\n\u003cp>“It was a long-term decision based on things that had nothing to do with the current situation,” he added.\u003c/p>\n\u003cp>Slim’s opened in 1988 as a juke joint that focused on R&B, jazz and blues, and quickly became one of San Francisco’s most famous clubs with an ever-evolving repertoire of genres. Sun Ra, Pearl Jam, Green Day, Radiohead, Prince and Snoop Dogg were just some of the greats who performed there, and the mid-sized venue became known as an intimate setting where fans could catch touring acts and up-and-coming local bands alike.\u003c/p>\n\u003cp>An era ended at the club when longtime manager Dawn Holliday retired in 2017. In 2018, promotions giant Goldenvoice, which presents Coachella, \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">took control of booking\u003c/a> at Slim’s as well as at sister venue the Great American Music Hall, laying off some longtime staff.\u003c/p>\n\u003cp>Scaggs told the \u003cem>Chronicle\u003c/em> that the Great American Music Hall will remain open, where Slim’s staff will have jobs once the shelter-in-place order is lifted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "5 Albums to Buy on Bandcamp When 100% of Sales Go To Artists on Friday",
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"content": "\u003cp>[aside postID='arts_13876893,arts_13876314' label='Read More']With tours canceled because of COVID-19, independent musicians are facing a sudden loss of income right now. That’s why it’s more important than ever for fans to show up for them to purchase their music and merch—or just donate directly.\u003c/p>\n\u003cp>Bandcamp, the streaming service and marketplace based in Oakland, is waiving its revenue share from midnight to midnight Pacific Daylight Time this Friday, March 20. So now is a good time to log on to support your favorite artists—and get new music in your library while you’re at it. If you’re feeling particularly generous, Bandcamp also offers the option of paying more than the asking price.\u003c/p>\n\u003cp>Below, KQED Arts & Culture staff rounded up five releases on our Bandcamp wish lists. We kept it short, and we hope you use our suggestions as a jumping-off point to browse Bandcamp’s treasure troves of independent music. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>CYAN\u003c/em>\u003c/strong>\u003cbr>\nOn their new album, \u003cem>CYAN\u003c/em>, the Seshen’s refreshing, synth-driven pop conjures early-morning dew drops on flower petals, glittering waters and tropical forests after rain. There’s something uplifting and enchanting about the way singer Lalin St. Juste’s vocals dance around the band’s textured, playful synths and bouncy neo-soul instrumentation. The six-piece ensemble’s songwriting has always been ambitious, and on \u003cem>CYAN\u003c/em>, St. Juste and producer-bassist Aki Ehara hone in on their vision and center St. Juste’s autobiographical lyrics over a sleeker sound. In addition to digital download, \u003cem>CYAN\u003c/em> is available on CD and vinyl. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2747173676/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Matt Robidoux, \u003cem>Brief Candles\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On the last weekend before the cancellations, before the venues shuttered and gathering in a room to experience live music emerged as a threat to public health, I went to a show at Adobe Books in the Mission District of San Francisco. Nine musicians set up on the floor, with mismatched chairs and benches bringing observers within inches of the performers. There was brass and guitar, percussion and strings, and it was intimate enough to hear fingers meet frets. Leading the winsome baroque pop ensemble was Matt Robidoux, a San Francisco composer and improviser steeped in the experimental music community orbiting Mills College. That night at Adobe they were playing material from Robidoux’s latest album, \u003ci>Brief Candles\u003c/i>, which evokes the mix of pop and new music created by earlier Mills figures such as “Blue” Gene Tyranny. \u003cem>—Sam Lefebvre, reporter\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2726433880/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Juanny Depp, \u003cem>Emergencia\u003c/em> and \u003cem>Golpe De Estado\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Reggaeton, dembow and club music live together in harmony at Amor Digital, the Bay Area dance party helmed by Juanny Depp, 99% Lean and Namaste Shawty. Over the past year, Amor Digital has become a platform for forward-thinking Latinx sounds, with DJs spinning tracks by the likes of Bad Bunny and El Alfa alongside house, footwork, techno and their own original production. Juanny Depp, who works at the San Francisco arts education nonprofit Youth Art Exchange by day, recently released two new projects: his \u003ci>Golpe De Estado\u003c/i> EP features a collection of high-energy perreo instrumentals to twerk to while self-isolating. Danceable with a tinge of melancholy, \u003ci>Golpe De Estado\u003c/i> thumps with hip-winding Caribbean rhythms and pulses with house beats enveloped in dreamy, downcast synths. And his new project, \u003ci>Emergencia\u003c/i> (out today), features remixes of tracks by Kamaiyah and Nicki Minaj. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=230220690/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>William Parker, \u003cem>I Plan To Stay A Believer: The Inside Songs Of Curtis Mayfield\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the 2016 election, I listened to nothing but Curtis Mayfield for two weeks. Part political, part personal, Mayfield’s music was the perfect salve in that time of unease. Acknowledging turmoil, corruption and racism, and the effects they have on the individual, his songs also offer a beacon of hope, love and unity. Now, with another crisis on our hands, I’m glad to see a historic concert of Curtis Mayfield’s songs made available in this 2xLP vinyl reissue. Led by bassist William Parker, the group of New York jazz musicians approach songs like “If There’s a Hell Below” and “I Plan to Stay a Believer” with passion and grit. Poet and author Amiri Baraka provides a depth to the set, and the New Life Tabernacle choir elevates Mayfield’s signature song “People Get Ready” to celestial heights. If you’re looking to be transported away from the news in a non-\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities-singing-“Imagine”\u003c/a> way, this one will help. \u003cem>—Gabe Meline, senior editor\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3296104478/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>No Lovely Thing, \u003cem>She Be\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band No Lovely Thing was set to perform at Oakland’s Starline Social Club this Saturday, but that event is no longer happening. Fortunately, their latest album, the 2019 release \u003cem>She Be\u003c/em>, is available for purchase on Bandcamp. It features tracks like “Grapevine,” where R&B meets rock, the slower sultry sounds of “Mangoes” and a track that one might describe as the bridge between gospel and funk, “I Can’t Breathe.” The band’s lead singer, East Oakland’s own Melissa Jones, is a vocalist and poet who, in addition to this band, also performs as a solo act. Even in the face of all that’s going on, she doesn’t plan on slowing down. In fact, next week, she’s planning on dropping a snippet of her latest work, as she’s recently teamed up with guitarist-producer \u003ca href=\"https://www.instagram.com/atmosound/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcos Brooks\u003c/a> for a new duo, \u003ca href=\"https://www.instagram.com/freshfeelofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">FreshFeel\u003c/a>. They’ll be debuting a song called “Colors” on March 27, and will release one track every last Friday of the month for the next five months. \u003cem>—Pendarvis Harshaw, columnist and host of \u003c/em>Rightnowish\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With tours canceled because of COVID-19, independent musicians are facing a sudden loss of income right now. That’s why it’s more important than ever for fans to show up for them to purchase their music and merch—or just donate directly.\u003c/p>\n\u003cp>Bandcamp, the streaming service and marketplace based in Oakland, is waiving its revenue share from midnight to midnight Pacific Daylight Time this Friday, March 20. So now is a good time to log on to support your favorite artists—and get new music in your library while you’re at it. If you’re feeling particularly generous, Bandcamp also offers the option of paying more than the asking price.\u003c/p>\n\u003cp>Below, KQED Arts & Culture staff rounded up five releases on our Bandcamp wish lists. We kept it short, and we hope you use our suggestions as a jumping-off point to browse Bandcamp’s treasure troves of independent music. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>CYAN\u003c/em>\u003c/strong>\u003cbr>\nOn their new album, \u003cem>CYAN\u003c/em>, the Seshen’s refreshing, synth-driven pop conjures early-morning dew drops on flower petals, glittering waters and tropical forests after rain. There’s something uplifting and enchanting about the way singer Lalin St. Juste’s vocals dance around the band’s textured, playful synths and bouncy neo-soul instrumentation. The six-piece ensemble’s songwriting has always been ambitious, and on \u003cem>CYAN\u003c/em>, St. Juste and producer-bassist Aki Ehara hone in on their vision and center St. Juste’s autobiographical lyrics over a sleeker sound. In addition to digital download, \u003cem>CYAN\u003c/em> is available on CD and vinyl. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2747173676/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Matt Robidoux, \u003cem>Brief Candles\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On the last weekend before the cancellations, before the venues shuttered and gathering in a room to experience live music emerged as a threat to public health, I went to a show at Adobe Books in the Mission District of San Francisco. Nine musicians set up on the floor, with mismatched chairs and benches bringing observers within inches of the performers. There was brass and guitar, percussion and strings, and it was intimate enough to hear fingers meet frets. Leading the winsome baroque pop ensemble was Matt Robidoux, a San Francisco composer and improviser steeped in the experimental music community orbiting Mills College. That night at Adobe they were playing material from Robidoux’s latest album, \u003ci>Brief Candles\u003c/i>, which evokes the mix of pop and new music created by earlier Mills figures such as “Blue” Gene Tyranny. \u003cem>—Sam Lefebvre, reporter\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2726433880/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Juanny Depp, \u003cem>Emergencia\u003c/em> and \u003cem>Golpe De Estado\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Reggaeton, dembow and club music live together in harmony at Amor Digital, the Bay Area dance party helmed by Juanny Depp, 99% Lean and Namaste Shawty. Over the past year, Amor Digital has become a platform for forward-thinking Latinx sounds, with DJs spinning tracks by the likes of Bad Bunny and El Alfa alongside house, footwork, techno and their own original production. Juanny Depp, who works at the San Francisco arts education nonprofit Youth Art Exchange by day, recently released two new projects: his \u003ci>Golpe De Estado\u003c/i> EP features a collection of high-energy perreo instrumentals to twerk to while self-isolating. Danceable with a tinge of melancholy, \u003ci>Golpe De Estado\u003c/i> thumps with hip-winding Caribbean rhythms and pulses with house beats enveloped in dreamy, downcast synths. And his new project, \u003ci>Emergencia\u003c/i> (out today), features remixes of tracks by Kamaiyah and Nicki Minaj. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=230220690/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>William Parker, \u003cem>I Plan To Stay A Believer: The Inside Songs Of Curtis Mayfield\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the 2016 election, I listened to nothing but Curtis Mayfield for two weeks. Part political, part personal, Mayfield’s music was the perfect salve in that time of unease. Acknowledging turmoil, corruption and racism, and the effects they have on the individual, his songs also offer a beacon of hope, love and unity. Now, with another crisis on our hands, I’m glad to see a historic concert of Curtis Mayfield’s songs made available in this 2xLP vinyl reissue. Led by bassist William Parker, the group of New York jazz musicians approach songs like “If There’s a Hell Below” and “I Plan to Stay a Believer” with passion and grit. Poet and author Amiri Baraka provides a depth to the set, and the New Life Tabernacle choir elevates Mayfield’s signature song “People Get Ready” to celestial heights. If you’re looking to be transported away from the news in a non-\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities-singing-“Imagine”\u003c/a> way, this one will help. \u003cem>—Gabe Meline, senior editor\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3296104478/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>No Lovely Thing, \u003cem>She Be\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band No Lovely Thing was set to perform at Oakland’s Starline Social Club this Saturday, but that event is no longer happening. Fortunately, their latest album, the 2019 release \u003cem>She Be\u003c/em>, is available for purchase on Bandcamp. It features tracks like “Grapevine,” where R&B meets rock, the slower sultry sounds of “Mangoes” and a track that one might describe as the bridge between gospel and funk, “I Can’t Breathe.” The band’s lead singer, East Oakland’s own Melissa Jones, is a vocalist and poet who, in addition to this band, also performs as a solo act. Even in the face of all that’s going on, she doesn’t plan on slowing down. In fact, next week, she’s planning on dropping a snippet of her latest work, as she’s recently teamed up with guitarist-producer \u003ca href=\"https://www.instagram.com/atmosound/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcos Brooks\u003c/a> for a new duo, \u003ca href=\"https://www.instagram.com/freshfeelofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">FreshFeel\u003c/a>. They’ll be debuting a song called “Colors” on March 27, and will release one track every last Friday of the month for the next five months. \u003cem>—Pendarvis Harshaw, columnist and host of \u003c/em>Rightnowish\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bandcamp, the digital storefront and streaming music platform used by hundreds of thousands of artists and thousands of record labels, will forgo collecting its share of revenue from sales on the site made this Friday, March 20, \u003ca href=\"https://daily.bandcamp.com/features/bandcamp-covid-19-fundraiser\">the company announced\u003c/a> on Tuesday. The initiative will be active from 12:00 a.m. to 11:59 p.m Pacific time.\u003c/p>\n\u003cp>The global coronavirus outbreak has put many musicians in a state of extreme financial precarity as their main source of income, live performance, has been suspended while the world struggles to contain the pandemic. “For many artists, a single day of boosted sales can mean the difference between being able to pay rent or not,” Ethan Diamond, the CEO and co-founder of Bandcamp, writes. “Still, we consider this just a starting point. Musicians will continue to feel the effects of lost touring income for many months to come, so we’re also sharing some ideas below on how fans can support the artists they love and how artists can give fans new, creative ways to provide support.”\u003c/p>\n\u003cp>Typically, Bandcamp collects 15% of the revenue from sales of digital music made through its website and \u003ca href=\"https://apps.apple.com/us/app/bandcamp/id706408639\">app\u003c/a>, and 10% from sales of physical goods. It claims to have paid artists some $468 million since its \u003ca href=\"https://blog.bandcamp.com/2008/09/16/hello-cleveland/\">launch\u003c/a> in Sept. 2008, and $9.5 million over the past 30 days. Payments for sales of digital goods made through Bandcamp are typically paid to sellers within 48 hours, while the revenue from physical sales is transmitted directly to those artists’ or labels’ accounts.\u003c/p>\n\u003cp>In a postscript to Bandcamp’s announcement, Diamond reminds readers that the financial effects of the crisis will extend beyond musicians to those who make their living supporting them, “including record store owners and staff, tour managers, event producers, venue staff, lighting and sound professionals, janitors, photographers, bartenders, security guards, and more. We encourage you to find ways to reach out and support those affected in your local communities.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For about a week now, as the worldwide coronavirus crisis deepens, the internet has been figuratively clinging to the balcony singers of Italy like a life raft.\u003c/p>\n\u003cp>https://twitter.com/romepix/status/1238658126087442432\u003c/p>\n\u003cp>The much-shared balcony outpourings have so far stood as a testament to community, togetherness, the power of music and the resilience of humanity. But as lockdowns and quarantines are expanded around the globe, they’ve also been an inspiration to others. “If they can do it with this much grace,” the rest of the world has noted, “then we can too!”\u003c/p>\n\u003cp>Except actually… no. It turns out that united balcony singing is for Italians and Italians only.\u003c/p>\n\u003cp>When Germans try it, neighbors threaten to call the police:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/FendiClaude/status/1239119975165702145\u003c/p>\n\u003cp>In Wales, this man did his best to lift the spirits of his countrymen, only to find his Queen-related efforts were met with both resistance and expletives:\u003c/p>\n\u003cp>https://twitter.com/AllanPinfold/status/1239673070677262338\u003c/p>\n\u003cp>The Israeli attempt at balcony togetherness did its best to imitate the fun-loving Italians, but ended up being so inordinately loud, it was basically large scale noise pollution:\u003c/p>\n\u003cp>https://twitter.com/HananyaNaftali/status/1239944587772178432\u003c/p>\n\u003cp>Then there’s this poor, lonely gentleman who might have been better off belting out Robyn’s “Dancing On My Own” instead:\u003c/p>\n\u003cp>https://twitter.com/zhaun/status/1239511501515325441\u003c/p>\n\u003cp>And this freezing Scandinavian who has only the whistling wind for company:\u003c/p>\n\u003cp>https://twitter.com/aquiIera/status/1238980982352613377\u003c/p>\n\u003cp>Even countries that haven’t attempted a mass singalong yet are fearful of the results. This guy worries that any Aussie efforts attempted may sound less triumphant and more like a bunch of drunk people leaving the bar at a beach resort:\u003c/p>\n\u003cp>https://twitter.com/bariatricdad/status/1240005945561759744\u003c/p>\n\u003cp>The spirit is there for this Chicago resident, but the comedy delivery is a tad low key:\u003c/p>\n\u003cp>https://twitter.com/MeMichaelMeyers/status/1239223402344394752\u003c/p>\n\u003cp>With all that in mind, it’s probably best that the rest of the world drops the mic and continues to let Italy take charge. After all, how is anyone anywhere supposed to compete with \u003cem>this\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/Tim_C66/status/1239642846484930560\u003c/p>\n\n",
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"title": "Surprisingly Good Coronavirus Songs to Stream While You're Sheltering in Place",
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"content": "\u003cp>With a global pandemic spreading and 6.7 million residents of six Bay Area counties ordered to shelter in place, things are bad right now. And sometimes, when everything is terrible, we need to experience a little joy—which is why we’ve rounded up songs about the coronavirus that are actually catchy, hilarious, informative or all of the above. [aside postid='arts_13876775']\u003c/p>\n\u003cp>Artists making light of the pandemic in a bid to go viral (do we need a new term for this?) might read as grossly opportunistic. But in some countries, public health authorities have harnessed the power of pop songs to spread accurate information about health and safety measures. And while not all the tracks on this list are exactly educational, they provide a fitting soundtrack for dancing alone during self-quarantine. What’s more 2020 than that?\u003c/p>\n\u003cp>Here are seven of our favorite coronavirus jams.\u003c/p>\n\u003ch2>Gmac Cash’s Hypochondriac Anthem\u003c/h2>\n\u003cp>https://youtu.be/ugtN6HCqatc\u003c/p>\n\u003cp>Dressed in a hazmat suit and armed with a spray bottle of disinfectant, Detroit rapper Gmac Cash gives voice to contagion anxieties in his “Coronavirus” music video. “I’ma chill at the crib ’cause I’m safe here / I ain’t even about to drink a Corona beer / I’m bout to stay at the crib for about a year,” he raps over a tense piano loop as he frantically runs around town spraying everything and everyone in sight. Despite instructions to remain calm from public officials, the anxiety in the air surrounding coronavirus is palpable—at least Gmac gives us a laugh about it.\u003c/p>\n\u003ch2>A Cardi B Coronavirus Remix\u003c/h2>\n\u003cp>https://youtu.be/iiYDSOQPPhY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Producer iMarkkeyez made a trap-EDM remix that uses a clip of Cardi B yelling about her coronavirus anxieties and frustrations at government inaction on her \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9333470/cardi-b-coronavirus-videos\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. Ever the queen of social media, Cardi posted about the track and in a day it climbed to No. 5 (and counting) on the iTunes hip-hop chart.\u003c/p>\n\u003ch2>Yograngel’s End-of-Days Dance Party\u003c/h2>\n\u003cp>https://youtu.be/uF3dg5seGLs\u003c/p>\n\u003cp>Dembow, from the Dominican Republic, is one of the most fun types of music on the globe; it’s an instant party starter. Enter Yofrangel, whose uptempo, hyperactive coronavirus song already has inspired videos of people \u003ca href=\"https://www.instagram.com/p/B9y0hQYgkee/\" target=\"_blank\" rel=\"noopener noreferrer\">partying\u003c/a> and \u003ca href=\"https://www.instagram.com/p/B9zyswqgWBB/\" target=\"_blank\" rel=\"noopener noreferrer\">twerking\u003c/a> to it amid the pandemic. In the music video, he’s turning up while getting treated in an ambulance.\u003c/p>\n\u003ch2>A Cumbia More Viral Than… Never Mind\u003c/h2>\n\u003cp>https://youtu.be/zG7KShvqg9A\u003c/p>\n\u003cp>Mister Cumbia takes the public health route with his “La Cumbia del Coronavirus,” which contains helpful reminders to wash our hands, not touch our faces and use disinfectant. The song was released on Jan. 29—so Mister Cumbia had a lot of foresight to put this out before entire countries went on lockdown to stop the spread of infection. If only people had heeded his warnings.\u003c/p>\n\u003ch2>A Corrido for Toilet Paper Panic\u003c/h2>\n\u003cp>https://youtu.be/z_oR77mGQao\u003c/p>\n\u003cp>Stricken with coronavirus panic, people are adopting a scarcity mentality and buying up everything in sight—as numerous images of empty toilet paper shelves at grocery stores can attest. “El Corrido del Coronavirus” by Los Tres Tristes Tigres gives voice to our petty frustrations about closures and ridiculous shortages.\u003c/p>\n\u003ch2>A V-Pop PSA\u003c/h2>\n\u003cp>https://youtu.be/BtulL3oArQw\u003c/p>\n\u003cp>You don’t have to speak Vietnamese to benefit from this instructional (and cute!) music video for “Ghen Co Vy” by K. Hung, Min and Erik. Written in collaboration with Vietnam’s National Institute of Occupational and Environmental Health, the PSA takes the tune of a V-pop hit called “Ghen” and recruits its original singers for the vocals. The track inspired a \u003ca href=\"https://www.billboard.com/articles/news/international/9326879/vietnam-coronavirus-psa-video\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok challenge\u003c/a> that dancer Quang Dang choreographed to spread the message to younger audiences.\u003c/p>\n\u003ch2>A Message from South Africa\u003c/h2>\n\u003cp>https://twitter.com/ChoirAfrica/status/1237505721433853952?s=20\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another wholesome pop PSA comes from South Africa’s Ndlovu Youth Choir, who were finalists on \u003cem>America’s Got Talent\u003c/em> in 2019. Enlisted by their country’s National Department of Health, they created an uplifting, danceable track that leaves us with crucial hygiene reminders.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artists making light of the pandemic in a bid to go viral (do we need a new term for this?) might read as grossly opportunistic. But in some countries, public health authorities have harnessed the power of pop songs to spread accurate information about health and safety measures. And while not all the tracks on this list are exactly educational, they provide a fitting soundtrack for dancing alone during self-quarantine. What’s more 2020 than that?\u003c/p>\n\u003cp>Here are seven of our favorite coronavirus jams.\u003c/p>\n\u003ch2>Gmac Cash’s Hypochondriac Anthem\u003c/h2>\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/ugtN6HCqatc'\n title='//www.youtube.com/embed/ugtN6HCqatc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dressed in a hazmat suit and armed with a spray bottle of disinfectant, Detroit rapper Gmac Cash gives voice to contagion anxieties in his “Coronavirus” music video. “I’ma chill at the crib ’cause I’m safe here / I ain’t even about to drink a Corona beer / I’m bout to stay at the crib for about a year,” he raps over a tense piano loop as he frantically runs around town spraying everything and everyone in sight. Despite instructions to remain calm from public officials, the anxiety in the air surrounding coronavirus is palpable—at least Gmac gives us a laugh about it.\u003c/p>\n\u003ch2>A Cardi B Coronavirus Remix\u003c/h2>\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/iiYDSOQPPhY'\n title='//www.youtube.com/embed/iiYDSOQPPhY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Producer iMarkkeyez made a trap-EDM remix that uses a clip of Cardi B yelling about her coronavirus anxieties and frustrations at government inaction on her \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9333470/cardi-b-coronavirus-videos\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. Ever the queen of social media, Cardi posted about the track and in a day it climbed to No. 5 (and counting) on the iTunes hip-hop chart.\u003c/p>\n\u003ch2>Yograngel’s End-of-Days Dance Party\u003c/h2>\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/uF3dg5seGLs'\n title='//www.youtube.com/embed/uF3dg5seGLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dembow, from the Dominican Republic, is one of the most fun types of music on the globe; it’s an instant party starter. Enter Yofrangel, whose uptempo, hyperactive coronavirus song already has inspired videos of people \u003ca href=\"https://www.instagram.com/p/B9y0hQYgkee/\" target=\"_blank\" rel=\"noopener noreferrer\">partying\u003c/a> and \u003ca href=\"https://www.instagram.com/p/B9zyswqgWBB/\" target=\"_blank\" rel=\"noopener noreferrer\">twerking\u003c/a> to it amid the pandemic. In the music video, he’s turning up while getting treated in an ambulance.\u003c/p>\n\u003ch2>A Cumbia More Viral Than… Never Mind\u003c/h2>\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/zG7KShvqg9A'\n title='//www.youtube.com/embed/zG7KShvqg9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mister Cumbia takes the public health route with his “La Cumbia del Coronavirus,” which contains helpful reminders to wash our hands, not touch our faces and use disinfectant. The song was released on Jan. 29—so Mister Cumbia had a lot of foresight to put this out before entire countries went on lockdown to stop the spread of infection. If only people had heeded his warnings.\u003c/p>\n\u003ch2>A Corrido for Toilet Paper Panic\u003c/h2>\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/z_oR77mGQao'\n title='//www.youtube.com/embed/z_oR77mGQao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stricken with coronavirus panic, people are adopting a scarcity mentality and buying up everything in sight—as numerous images of empty toilet paper shelves at grocery stores can attest. “El Corrido del Coronavirus” by Los Tres Tristes Tigres gives voice to our petty frustrations about closures and ridiculous shortages.\u003c/p>\n\u003ch2>A V-Pop PSA\u003c/h2>\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/BtulL3oArQw'\n title='//www.youtube.com/embed/BtulL3oArQw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You don’t have to speak Vietnamese to benefit from this instructional (and cute!) music video for “Ghen Co Vy” by K. Hung, Min and Erik. Written in collaboration with Vietnam’s National Institute of Occupational and Environmental Health, the PSA takes the tune of a V-pop hit called “Ghen” and recruits its original singers for the vocals. The track inspired a \u003ca href=\"https://www.billboard.com/articles/news/international/9326879/vietnam-coronavirus-psa-video\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok challenge\u003c/a> that dancer Quang Dang choreographed to spread the message to younger audiences.\u003c/p>\n\u003ch2>A Message from South Africa\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Another wholesome pop PSA comes from South Africa’s Ndlovu Youth Choir, who were finalists on \u003cem>America’s Got Talent\u003c/em> in 2019. Enlisted by their country’s National Department of Health, they created an uplifting, danceable track that leaves us with crucial hygiene reminders.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here's How We Cope When We're Stressed: Ideas From NPR's Arts Desk",
"headTitle": "Here’s How We Cope When We’re Stressed: Ideas From NPR’s Arts Desk | KQED",
"content": "\u003cp>What helps you feel better when life is stressful and scary?\u003c/p>\n\u003cp>We asked members of the NPR Arts Desk, and their answers include a Norwegian knitting marathon,\u003cem> America’s Next Top Model, \u003c/em>British crime dramas and peanut soup.\u003c/p>\n\u003cp>Find 17 tried-and-true ideas below and stay tuned to the \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">Pop Culture Happy Hour podcast\u003c/a> for an episode about this very topic.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>America’s Next Top Model\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>I hesitate to truly recommend\u003cem> America’s Next Top Model\u003c/em>, because it is not good. But what I can promise is very low stakes. Rarely has the show resulted in a major career for anyone, so win or lose, mostly they’re there to participate in the show itself. And while I might not be able to relate to living on a desert island, I can relate to not liking a picture of yourself or being in distress over a terrible haircut. I cannot tell a lie: It’s one of my go-to comfort watches. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B018YLD706/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/302c282e-7c22-4a22-a97e-8c05f1958e86\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/finale-pt-2-americas-next-top-model-is/id1020461813?i=1064864722\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/playlist?list=ELesSZKEooraraxtcwMwIBCQ\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Linda Holmes, host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Room With A View\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helena Bonham Carter’s impressive hair extensions lead an all-star British cast that includes Dame Maggie Smith, Dame Judi Dench and—this movie is so old—Daniel Day-Lewis as an awkward third-tier love interest. This 1985 adaptation of E.M. Forster’s \u003ca href=\"https://www.npr.org/books/titles/815975027/room-with-a-view\" target=\"_blank\" rel=\"noopener noreferrer\">fabulous Edwardian novel\u003c/a> maintains its author’s decorous sensuality, particularly in a great all-male nude bathing scene that manages to be both riotously family friendly and also slyly cognizant of the author’s (repressed) queerness. “This is not what we were led to expect!” Truer words were never spoken. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B015IVLL7Q/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/movies/details?id=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">GooglePlay,\u003c/a> \u003ca href=\"https://www.hulu.com/movie/a-room-with-a-view-1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943?entity_id=1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/movie/a-room-with-a-view/id1036043140\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JFIPjRFuaHA&has_verified=1\u003c/p>\n\u003cp>\u003cem>\u003cstrong>What’s Wrong With Secretary Kim?\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>In times like these, I like to soothe myself with a soapy binge-watch. My aunts have included K-dramas in their self-care routines for years, so I recently decided to take the plunge. Now I can’t stop watching \u003cem>What’s Wrong With Secretary Kim?\u003c/em>, a South Korean series that has a calming mix of humor, romance and addictive soap opera melodrama. Loyal secretary Kim Mi-so tells her narcissistic boss Lee Young-joon that she’s quitting, which sets off a series of events that—of course—cause our leads to fall in love. Park Min-young and Park Seo-joon have electric chemistry, and what’s better than watching two unbelievably beautiful people navigate ridiculous obstacles to eventually fall in love? (Available on \u003ca href=\"https://www.hulu.com/series/62cf6cb0-3485-46ad-a0b6-75e542937f70\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a>)\u003cbr>\n\u003cem>— Jessica Reedy, producer, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Route One” by Sigur Rós\u003cbr>\n\u003c/strong>You can turn to YouTube to watch people skateboard off rooftops, or you can turn to YouTube to travel 1,332 km around Iceland’s Ring Road while Sigur Rós music plays—it’s your choice, really. The latter will take you a mere 24 hours, a feat the band (with the help of the Icelandic National Broadcasting Service) accomplished through the use of generative music software; basically, they fed stems of Sigur Rós songs to the software to generate an ever-changing new composition. Titled \u003cem>Route One\u003c/em>, it’s truly hypnotic; the visuals are gorgeous and it’s easy to drop in and out while always hearing something new. Here are parts \u003ca href=\"https://www.youtube.com/watch?v=G54tllj-SKI\" target=\"_blank\" rel=\"noopener noreferrer\">1,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=szbGc7ymFhQ\" target=\"_blank\" rel=\"noopener noreferrer\">2\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aV7YutDr5Nw\" target=\"_blank\" rel=\"noopener noreferrer\">3\u003c/a>.\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G54tllj-SKI\u003c/p>\n\u003cp>\u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“National Knitting Night”\u003c/strong>\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>If 24 hours with Sigur Rós (see above) seems a tad … long (you know, whatever), you can also spend a fraction of those 24 hours watching a bunch of good-natured Norwegians try to produce a sweater—”from sheep’s back to human’s back”—in something short of the world-record time. (That’d be 4 hours, 51 minutes and 14 seconds, \u003cem>obviously\u003c/em>.) It’s called \u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">“National Knitting Night,”\u003c/a> available through NRK TV, and it’s extraordinarily soothing company. And, when you think about it, kind of like sports!\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Get A Life, Chloe Brown\u003c/em>\u003c/strong>\u003cstrong> by Talia Hibbert\u003cbr>\n\u003c/strong>Romance is possibly the most supremely comforting genre of them all—it is a rock-ribbed rule that a romance must have a Happy Ever After, so no matter which way the roller coaster twists you, you know you’ll come safely to a halt in the end. And \u003ca href=\"https://www.npr.org/books/titles/775206804/get-a-life-chloe-brown\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get a Life\u003c/em>, \u003cem>Chloe Brown\u003c/em>\u003c/a> has plenty of twists and turns on the way to that happy ending. Chloe herself isn’t the type of heroine you often see in romance novels—she’s plus-size and dealing with serious chronic illness that Hibbert depicts with compassion and bone-aching realism. Chloe is also a computer nerd who loves to make lists, and after a near-miss car accident, she makes herself a “Get a Life” list. Will getting a life somehow involve her smokin’ hot apartment superintendent “Red” Morgan, who has long red hair, a motorcycle, and is secretly a talented painter? YOU BET. Chloe and Red have chemistry that practically burns up the page, the supporting cast (including Chloe’s sequel-bait sisters) are funny and well-rounded, and the conflicts and obstacles feel organic. This is one for the re-read pile.\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parks and Recreation\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Lately, I’ve been thinking a lot about \u003cem>Parks and Recreation \u003c/em>and Amy Poehler’s character, the indefatigable Leslie Knope. Knope is a well-meaning bureaucrat, though not always the brightest bulb—who fervently believes that the government of her small Indiana town could make things better for everybody. Unfortunately, she is surrounded by a hapless crew of oddballs who keep making that task tougher and tougher. Bingeing old \u003cem>Parks and Rec\u003c/em> episodes not only gives you a look at ace performers like Chris Pratt, Nick Offerman, Aziz Ansari, Aubrey Plaza and Retta before they became superstars, it’s also a wonderful comedy centered on a super dysfunctional work family trying to make government a little better. And who doesn’t need a message like that today? (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B01A3QX7X2/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/93dc18da-96d9-4841-b125-40f901f7e7eb\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70143842?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/parks-and-recreation-UCaUnHzySKszH_UxJEfWEn0Q?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Eric Deggans, TV critic\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ActknnwERUs\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Talking Heads\u003c/strong>\u003c/em>\u003cstrong> by Alan Bennett\u003cbr>\n\u003c/strong>Not the band (though their \u003ca href=\"https://www.youtube.com/watch?v=HldHtBxNK6k\" target=\"_blank\" rel=\"noopener noreferrer\">“Naïve Melody (This Must Be The Place)”\u003c/a> is a great song to listen to when you want to relax). No, these are a series of extended monologues by the British writer Alan Bennett, assayed by the likes of Maggie Smith, Julie Walters, Patricia Routledge, Eileen Atkins and Bennett himself. You can find them \u003ca href=\"https://www.youtube.com/playlist?list=PLxmwGyQNoPEKJ7gfk4QRMlZY0hQy4wbn5\" target=\"_blank\" rel=\"noopener noreferrer\">on YouTube\u003c/a>. Bennett is basically a worn, warm cardigan in human form, and his monologues feature unreliable narrators talking themselves into tiny epiphanies in their front rooms. They’re small and circumscribed but brilliantly specific and, often, bittersweet.\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Rhapsody in Blue” by George Gershwin\u003cbr>\n\u003c/strong>In trying times, I always listen to George Gershwin’s “Rhapsody in Blue.” Its jolly rhythms and busy, beautiful variations on themes lift my spirits, absorb me out of present problems (as all great art is able to do), and take me back to my 8-year-old days in my parents’ apartment on 103rd Street and Broadway in Manhattan: I would stand on a hassock, pencil in hand, and conduct our 78 rpm recording of Paul Whiteman And His Orchestra with Gershwin as piano soloist, performing the “\u003ca href=\"https://www.youtube.com/watch?v=Cq3J6fCUfto\" target=\"_blank\" rel=\"noopener noreferrer\">Rhapsody.\u003c/a>” The feelings of power and pleasure in those moments come right back to me when I hear it in troubled times.\u003cbr>\n—\u003cem> Susan Stamberg, special correspondent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Brave Faces Everyone” by\u003c/strong> \u003cstrong>Spanish Love Songs\u003cbr>\n\u003c/strong>You know \u003ca href=\"http://klipd.com/watch/burn-after-reading/brad-pitt-treadmill-scene\" target=\"_blank\" rel=\"noopener noreferrer\">that scene\u003c/a> in \u003cem>Burn After Reading\u003c/em> where Brad Pitt is running on the treadmill with his headphones on and he’s pumping his fists and you’re supposed to think he’s a jackass? Well, joke’s on you; doing that actually rules and feels great—especially if you’re listening to the latest Spanish Love Songs record \u003ca href=\"https://open.spotify.com/album/7GP702lI6EeRJnruJPoznv\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brave Faces Everyone\u003c/em>.\u003c/a> It’s an absolutely thrilling album about facing imminent doom (the second best chorus goes: “Don’t you know you were born to die poor, man”), the kind of doom that you can’t quite run away from because it’s everywhere, so you might as well pump your fists in the sky because it feels great—who cares if you look dumb.\u003cbr>\n\u003cem>— Andrew Limbong, reporter\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HYbAW0JlwdQ\u003c/p>\n\u003cp>\u003cstrong>British TV crime dramas\u003cbr>\n\u003c/strong>Not exactly calming, but great escapism. \u003cem>Happy Valley, Bodyguard, Broadchurch,\u003c/em> \u003cem>Grantchester, Line of Duty\u003c/em>. Gritty realism might be a stretch, but the sharp writing, flawed-but-endearing characters, plots, cheeky humor and all-around suspenseful atmosphere of these shows make it easy to slip into their worlds and stay there for hours—or at least until their final seasons. Always start at the beginning. (\u003cem>Happy Valley\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B072LGV8ZV/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=A7XQbRQ3mqM&cdid=tvseason-Gct2SdUGeF9fAI8Aug271A&gdid=tvepisode-fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1227764545?i=1229965074\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/80007225?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a>\u003cem> Bodyguard\u003c/em> available on \u003ca href=\"https://www.netflix.com/title/80235864?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix;\u003c/a> \u003cem>Broadchurch\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B074T38KHJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=hjoALWXeBsM&cdid=tvseason-rs2aF4n1qrJeHBcpa4HIqw&gdid=tvepisode-GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-8/id1209491967?i=1209497002\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes, \u003c/a>\u003ca href=\"https://www.netflix.com/title/70302484?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Grantchester\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07V96HMZG/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=bUMWuin_wjo&cdid=tvseason-Ri3diUPY8F-x6w0Gt4sX7w&gdid=tvepisode-ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-7/id1232011864?i=1248009358\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/episodes/grantchester-s1-e1/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Line of Duty\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07RRGPTVJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=367W_LaDsj4&cdid=tvseason-WPoANXuJ_XVTCvLhvkKu7Q&gdid=tvepisode-t4VB8Mmt8ls\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://www.hulu.com/series/0efc0f95-c575-46da-b28f-a30a13d86b37\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1239948393?i=1240562203\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/line-of-duty-UCaAelRWU4cE05Hojwt6pOiQ?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.)\u003cbr>\n—\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Old school real-time strategy games\u003cbr>\n\u003c/strong>You start with a town center and a villager or two. You send them off to build, or chop down trees, or farm, or mine ore, and gradually (the \u003cem>gradually\u003c/em> is what makes it relaxing!) you can start building armies and navies and upgrading your town. You watch it all happen from above, and there’s something incredibly peaceful about pulling back and seeing so many industrious little workers toiling away happily. (If you’ve spent any time in management, I don’t need to tell you how joyous the sight of people \u003cem>just doing the damn jobs you told them to do \u003c/em>can be.) Inevitably, because even pixelated humans are human, war comes—enemy troops descend on you, or you descend on your enemies. Some delight in this later stage of the game, as they relish the strategy and tactics of combat—but me, I’m happiest when a new game begins, and a tiny little dude with a tiny little wheelbarrow looks up at me expectantly, just wanting to be \u003cem>of use\u003c/em>. (You can find games like Age of the Empires, Battle for Middle Earth and Starcraft on \u003ca href=\"https://store.steampowered.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>.)\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The music from \u003c/strong>\u003cem>\u003cstrong>City of Angels, Golden Boy\u003c/strong>\u003c/em>\u003cstrong> and\u003c/strong>\u003cem>\u003cstrong> Raisin\u003cbr>\n\u003c/strong>\u003c/em>Broadway musicals nurtured me in my youth. Though I’m now an unrepentant Sondheimite, I fondly remember the scores of other composers and lyricists that kept me going between his shows—especially the jazzily obscure musicals that never seem to get revived these days. The glory of the Web is that they’re all at your fingertips. Say, Cy (\u003cem>Sweet Charity\u003c/em>) Coleman’s swinging detective musical-noir in \u003ca href=\"https://www.youtube.com/watch?v=M5QhFKE2GO8&list=PL445ADD730F46C816\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>City of Angels\u003c/em>,\u003c/a> or the sultry stylings that the creators of \u003cem>Bye Bye Birdie\u003c/em> fashioned for Sammy Davis Jr. in their boxing-ring musical \u003ca href=\"https://www.youtube.com/watch?v=OGqr3M-fajI&list=PLq01lsXqwzONpf-GYKwsgQrIqkwymyRGk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Golden Boy\u003c/em>.\u003c/a> And I’ve a special sweet spot in my heart for the musical \u003ca href=\"https://www.youtube.com/watch?v=6TPt4NzZreg&list=OLAK5uy_njf_RNyAufq1YFmp4K6qHhK3LjAGgZb0w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Raisin\u003c/em>,\u003c/a> based on Lorraine Hansberry’s \u003cem>A Raisin in the Sun\u003c/em>, that premiered at Washington’s Arena Stage and featured one of the the most delectable jazz scores I’ve ever heard.\u003cbr>\n\u003cem>— Bob Mondello, film critic\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cheers\u003cbr>\n\u003c/strong>\u003c/em>Sure, we all know \u003cem>Cheers\u003c/em>, but that’s its appeal—sometimes you want to go \u003ca href=\"https://www.youtube.com/watch?v=h-mi0r0LpXo\" target=\"_blank\" rel=\"noopener noreferrer\">“Where everybody knows your name…”\u003c/a> I return to it time and again for its recognizable sitcom tropes and familiar comedic rhythms—you’d be hard-pressed to find a show as packed with still-hilarious set-pieces and pingponging patter. Whether you tuned in each week from 1982 to 1993, or during reruns, or, now in a many-seasons-long binge, you’ll come to care deeply about these Boston bar knuckleheads as your own surrogate family and friends. I can’t think of anything more comforting than that. (Plus, once you hit the end of its 11 seasons, just keep going—with another 11 seasons of its spinoff, \u003ca href=\"https://www.imdb.com/title/tt0106004/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Frasier\u003c/em>\u003c/a>!) (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B00CV36NKU/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.cbs.com/shows/cheers/video/DXMbCNIG050KaYm2Tl82QQAyP6WO8E65/cheers-one-for-the-road-part-3/?searchReferral=google\" target=\"_blank\" rel=\"noopener noreferrer\">CBS,\u003c/a> \u003ca href=\"https://www.hulu.com/series/6db3756a-27a8-4c55-a285-c695e28fd977\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/one-for-the-road-pt-3/id476989385?i=477043997\" target=\"_blank\" rel=\"noopener noreferrer\"> iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70152640?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=x8H4Xkb9qhU\" target=\"_blank\" rel=\"noopener noreferrer\"> YouTube\u003c/a>)\u003cbr>\n—\u003cem> Mike Katzif, producer, \u003c/em>Pop Culture Happy Hour\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ncc77oxnx5A\u003c/p>\n\u003cp>\u003cstrong>West African Peanut Soup\u003cbr>\n\u003c/strong>I was in college when Mark Bittman posted \u003ca href=\"https://cooking.nytimes.com/recipes/1012581-west-african-peanut-soup-with-chicken\" target=\"_blank\" rel=\"noopener noreferrer\">this recipe\u003c/a> for West African chicken stew. I cooked pretty much everything he wrote back then, and while most recipes have faded in my memory this one stuck because it is\u003cem> magic.\u003c/em> I cannot explain why this combination of things you likely already have in your kitchen (peanut butter, garlic, a can of tomatoes, a chicken thigh in the back of your freezer, maybe?) and a few fresh veggies (kale, sweet potatoes) has become one of my all time favorite comfort meals, but it has. I make this soup when people are sick, or are having babies. I make it when the news is scary. I make it when the kale looks nice at the farmer’s market. I make it when I just have nothing else to do. It’s gluten- and dairy-free, so it works for a variety of diets and restrictions. (I’m sure you could make it vegetarian—just leave out the chicken. Maybe add some chickpeas.) It feels healthy and it comes together fast. When I made it yesterday, I didn’t have peanuts, and I used Japanese white sweet potatoes and added fish sauce. Go crazy!\u003cbr>\n—\u003cem> Rose Friedman, editor\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graveyard Keeper\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Really, any farming-type simulator game will do here—\u003cem>Stardew Valley, \u003c/em>granddaddy of them all \u003cem>Harvest Moon,\u003c/em> even \u003cem>Minecraft,\u003c/em> if the occasional zombie or spider doesn’t stress you out too much, and you like mining as much as farming—as long as it’s got soothingly repetitive action and lulling music. Plant endless crops? Yes! Dig lots of holes? Yes! Befriend local villagers? A thousand times yes! But what if you want that sweet, sweet farming sim action, and the times are just too grim to truly enjoy bringing endless sacks of flour to the Harvest Sprites? My friends, you need \u003cem>Graveyard Keeper.\u003c/em> You play as the maintenance man for a Medievalish graveyard, clearing stumps and weeds, improving your land, prettifying the graves, building relationships with the locals—all the activities common to farming sims. But also, you might be turning the regularly delivered bodies into mystery meat to sell at the tavern, and staging witch-burnings to get in good with the local inquisitor (while making a profit off mystery meat burgers you sell to the crowds). Fair warning—there are long periods in \u003cem>Graveyard Keeper\u003c/em> where you’re just grinding to get to the next level. But sometimes, that’s what you need to make the real world go away. And the music is \u003cem>really\u003c/em> soothing. (Available on \u003ca href=\"https://store.steampowered.com/app/599140/Graveyard_Keeper/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>, \u003ca href=\"https://www.microsoft.com/en-us/p/graveyard-keeper/c11gzgmkrtcv?activetab=pivot:overviewtab\" target=\"_blank\" rel=\"noopener noreferrer\">Xbox\u003c/a> and \u003ca href=\"https://www.nintendo.com/games/detail/graveyard-keeper-switch/\" target=\"_blank\" rel=\"noopener noreferrer\">Switch\u003c/a>)\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Art of Solitude \u003c/strong>\u003c/em>\u003cstrong>by Stephen Batchelor\u003cbr>\n\u003c/strong>I can’t think of a better time to read about how artists and writers have approached the idea of solitude—a concept that can range from loneliness to ecstasy. In \u003ca href=\"https://www.npr.org/books/titles/816253306/the-art-of-solitude-a-meditation-on-being-alone-with-others-in-this-world\" target=\"_blank\" rel=\"noopener noreferrer\">this short book (or audiobook),\u003c/a> Batchelor, a longtime Buddhist teacher, mixes in his own stories of being alone and at ease.\u003cbr>\n—\u003cem> Ted Robbins, editor\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here%27s+How+We+Cope+When+We%27re+Stressed%3A+Ideas+From+NPR%27s+Arts+Desk&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What helps you feel better when life is stressful and scary?\u003c/p>\n\u003cp>We asked members of the NPR Arts Desk, and their answers include a Norwegian knitting marathon,\u003cem> America’s Next Top Model, \u003c/em>British crime dramas and peanut soup.\u003c/p>\n\u003cp>Find 17 tried-and-true ideas below and stay tuned to the \u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">Pop Culture Happy Hour podcast\u003c/a> for an episode about this very topic.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>America’s Next Top Model\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>I hesitate to truly recommend\u003cem> America’s Next Top Model\u003c/em>, because it is not good. But what I can promise is very low stakes. Rarely has the show resulted in a major career for anyone, so win or lose, mostly they’re there to participate in the show itself. And while I might not be able to relate to living on a desert island, I can relate to not liking a picture of yourself or being in distress over a terrible haircut. I cannot tell a lie: It’s one of my go-to comfort watches. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B018YLD706/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/302c282e-7c22-4a22-a97e-8c05f1958e86\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/finale-pt-2-americas-next-top-model-is/id1020461813?i=1064864722\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/playlist?list=ELesSZKEooraraxtcwMwIBCQ\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Linda Holmes, host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Room With A View\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Helena Bonham Carter’s impressive hair extensions lead an all-star British cast that includes Dame Maggie Smith, Dame Judi Dench and—this movie is so old—Daniel Day-Lewis as an awkward third-tier love interest. This 1985 adaptation of E.M. Forster’s \u003ca href=\"https://www.npr.org/books/titles/815975027/room-with-a-view\" target=\"_blank\" rel=\"noopener noreferrer\">fabulous Edwardian novel\u003c/a> maintains its author’s decorous sensuality, particularly in a great all-male nude bathing scene that manages to be both riotously family friendly and also slyly cognizant of the author’s (repressed) queerness. “This is not what we were led to expect!” Truer words were never spoken. (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B015IVLL7Q/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/movies/details?id=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">GooglePlay,\u003c/a> \u003ca href=\"https://www.hulu.com/movie/a-room-with-a-view-1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943?entity_id=1c6bf99d-7d1d-4a4e-91ee-2d50b50e2943\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/movie/a-room-with-a-view/id1036043140\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=YAvGlWTYvLc\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Neda Ulaby, reporter\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/JFIPjRFuaHA'\n title='//www.youtube.com/embed/JFIPjRFuaHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>What’s Wrong With Secretary Kim?\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>In times like these, I like to soothe myself with a soapy binge-watch. My aunts have included K-dramas in their self-care routines for years, so I recently decided to take the plunge. Now I can’t stop watching \u003cem>What’s Wrong With Secretary Kim?\u003c/em>, a South Korean series that has a calming mix of humor, romance and addictive soap opera melodrama. Loyal secretary Kim Mi-so tells her narcissistic boss Lee Young-joon that she’s quitting, which sets off a series of events that—of course—cause our leads to fall in love. Park Min-young and Park Seo-joon have electric chemistry, and what’s better than watching two unbelievably beautiful people navigate ridiculous obstacles to eventually fall in love? (Available on \u003ca href=\"https://www.hulu.com/series/62cf6cb0-3485-46ad-a0b6-75e542937f70\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a>)\u003cbr>\n\u003cem>— Jessica Reedy, producer, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Route One” by Sigur Rós\u003cbr>\n\u003c/strong>You can turn to YouTube to watch people skateboard off rooftops, or you can turn to YouTube to travel 1,332 km around Iceland’s Ring Road while Sigur Rós music plays—it’s your choice, really. The latter will take you a mere 24 hours, a feat the band (with the help of the Icelandic National Broadcasting Service) accomplished through the use of generative music software; basically, they fed stems of Sigur Rós songs to the software to generate an ever-changing new composition. Titled \u003cem>Route One\u003c/em>, it’s truly hypnotic; the visuals are gorgeous and it’s easy to drop in and out while always hearing something new. Here are parts \u003ca href=\"https://www.youtube.com/watch?v=G54tllj-SKI\" target=\"_blank\" rel=\"noopener noreferrer\">1,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=szbGc7ymFhQ\" target=\"_blank\" rel=\"noopener noreferrer\">2\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aV7YutDr5Nw\" target=\"_blank\" rel=\"noopener noreferrer\">3\u003c/a>.\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\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/G54tllj-SKI'\n title='//www.youtube.com/embed/G54tllj-SKI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“National Knitting Night”\u003c/strong>\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>If 24 hours with Sigur Rós (see above) seems a tad … long (you know, whatever), you can also spend a fraction of those 24 hours watching a bunch of good-natured Norwegians try to produce a sweater—”from sheep’s back to human’s back”—in something short of the world-record time. (That’d be 4 hours, 51 minutes and 14 seconds, \u003cem>obviously\u003c/em>.) It’s called \u003ca href=\"https://tv.nrk.no/serie/national-knitting-eve\" target=\"_blank\" rel=\"noopener noreferrer\">“National Knitting Night,”\u003c/a> available through NRK TV, and it’s extraordinarily soothing company. And, when you think about it, kind of like sports!\u003cbr>\n—\u003cem> Stephen Thompson, panelist, Pop Culture Happy Hour and NPR Music editor\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Get A Life, Chloe Brown\u003c/em>\u003c/strong>\u003cstrong> by Talia Hibbert\u003cbr>\n\u003c/strong>Romance is possibly the most supremely comforting genre of them all—it is a rock-ribbed rule that a romance must have a Happy Ever After, so no matter which way the roller coaster twists you, you know you’ll come safely to a halt in the end. And \u003ca href=\"https://www.npr.org/books/titles/775206804/get-a-life-chloe-brown\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Get a Life\u003c/em>, \u003cem>Chloe Brown\u003c/em>\u003c/a> has plenty of twists and turns on the way to that happy ending. Chloe herself isn’t the type of heroine you often see in romance novels—she’s plus-size and dealing with serious chronic illness that Hibbert depicts with compassion and bone-aching realism. Chloe is also a computer nerd who loves to make lists, and after a near-miss car accident, she makes herself a “Get a Life” list. Will getting a life somehow involve her smokin’ hot apartment superintendent “Red” Morgan, who has long red hair, a motorcycle, and is secretly a talented painter? YOU BET. Chloe and Red have chemistry that practically burns up the page, the supporting cast (including Chloe’s sequel-bait sisters) are funny and well-rounded, and the conflicts and obstacles feel organic. This is one for the re-read pile.\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parks and Recreation\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Lately, I’ve been thinking a lot about \u003cem>Parks and Recreation \u003c/em>and Amy Poehler’s character, the indefatigable Leslie Knope. Knope is a well-meaning bureaucrat, though not always the brightest bulb—who fervently believes that the government of her small Indiana town could make things better for everybody. Unfortunately, she is surrounded by a hapless crew of oddballs who keep making that task tougher and tougher. Bingeing old \u003cem>Parks and Rec\u003c/em> episodes not only gives you a look at ace performers like Chris Pratt, Nick Offerman, Aziz Ansari, Aubrey Plaza and Retta before they became superstars, it’s also a wonderful comedy centered on a super dysfunctional work family trying to make government a little better. And who doesn’t need a message like that today? (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B01A3QX7X2/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.hulu.com/series/93dc18da-96d9-4841-b125-40f901f7e7eb\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70143842?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/parks-and-recreation-UCaUnHzySKszH_UxJEfWEn0Q?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>)\u003cbr>\n—\u003cem> Eric Deggans, TV critic\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/ActknnwERUs'\n title='//www.youtube.com/embed/ActknnwERUs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>\u003cstrong>Talking Heads\u003c/strong>\u003c/em>\u003cstrong> by Alan Bennett\u003cbr>\n\u003c/strong>Not the band (though their \u003ca href=\"https://www.youtube.com/watch?v=HldHtBxNK6k\" target=\"_blank\" rel=\"noopener noreferrer\">“Naïve Melody (This Must Be The Place)”\u003c/a> is a great song to listen to when you want to relax). No, these are a series of extended monologues by the British writer Alan Bennett, assayed by the likes of Maggie Smith, Julie Walters, Patricia Routledge, Eileen Atkins and Bennett himself. You can find them \u003ca href=\"https://www.youtube.com/playlist?list=PLxmwGyQNoPEKJ7gfk4QRMlZY0hQy4wbn5\" target=\"_blank\" rel=\"noopener noreferrer\">on YouTube\u003c/a>. Bennett is basically a worn, warm cardigan in human form, and his monologues feature unreliable narrators talking themselves into tiny epiphanies in their front rooms. They’re small and circumscribed but brilliantly specific and, often, bittersweet.\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Rhapsody in Blue” by George Gershwin\u003cbr>\n\u003c/strong>In trying times, I always listen to George Gershwin’s “Rhapsody in Blue.” Its jolly rhythms and busy, beautiful variations on themes lift my spirits, absorb me out of present problems (as all great art is able to do), and take me back to my 8-year-old days in my parents’ apartment on 103rd Street and Broadway in Manhattan: I would stand on a hassock, pencil in hand, and conduct our 78 rpm recording of Paul Whiteman And His Orchestra with Gershwin as piano soloist, performing the “\u003ca href=\"https://www.youtube.com/watch?v=Cq3J6fCUfto\" target=\"_blank\" rel=\"noopener noreferrer\">Rhapsody.\u003c/a>” The feelings of power and pleasure in those moments come right back to me when I hear it in troubled times.\u003cbr>\n—\u003cem> Susan Stamberg, special correspondent\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Brave Faces Everyone” by\u003c/strong> \u003cstrong>Spanish Love Songs\u003cbr>\n\u003c/strong>You know \u003ca href=\"http://klipd.com/watch/burn-after-reading/brad-pitt-treadmill-scene\" target=\"_blank\" rel=\"noopener noreferrer\">that scene\u003c/a> in \u003cem>Burn After Reading\u003c/em> where Brad Pitt is running on the treadmill with his headphones on and he’s pumping his fists and you’re supposed to think he’s a jackass? Well, joke’s on you; doing that actually rules and feels great—especially if you’re listening to the latest Spanish Love Songs record \u003ca href=\"https://open.spotify.com/album/7GP702lI6EeRJnruJPoznv\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Brave Faces Everyone\u003c/em>.\u003c/a> It’s an absolutely thrilling album about facing imminent doom (the second best chorus goes: “Don’t you know you were born to die poor, man”), the kind of doom that you can’t quite run away from because it’s everywhere, so you might as well pump your fists in the sky because it feels great—who cares if you look dumb.\u003cbr>\n\u003cem>— Andrew Limbong, reporter\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/HYbAW0JlwdQ'\n title='//www.youtube.com/embed/HYbAW0JlwdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>British TV crime dramas\u003cbr>\n\u003c/strong>Not exactly calming, but great escapism. \u003cem>Happy Valley, Bodyguard, Broadchurch,\u003c/em> \u003cem>Grantchester, Line of Duty\u003c/em>. Gritty realism might be a stretch, but the sharp writing, flawed-but-endearing characters, plots, cheeky humor and all-around suspenseful atmosphere of these shows make it easy to slip into their worlds and stay there for hours—or at least until their final seasons. Always start at the beginning. (\u003cem>Happy Valley\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B072LGV8ZV/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=A7XQbRQ3mqM&cdid=tvseason-Gct2SdUGeF9fAI8Aug271A&gdid=tvepisode-fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1227764545?i=1229965074\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/80007225?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fO33KL1rh0U\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a>\u003cem> Bodyguard\u003c/em> available on \u003ca href=\"https://www.netflix.com/title/80235864?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix;\u003c/a> \u003cem>Broadchurch\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B074T38KHJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=hjoALWXeBsM&cdid=tvseason-rs2aF4n1qrJeHBcpa4HIqw&gdid=tvepisode-GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-8/id1209491967?i=1209497002\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes, \u003c/a>\u003ca href=\"https://www.netflix.com/title/70302484?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=GSu5ntBXZU4\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Grantchester\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07V96HMZG/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=bUMWuin_wjo&cdid=tvseason-Ri3diUPY8F-x6w0Gt4sX7w&gdid=tvepisode-ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play, \u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/episode-7/id1232011864?i=1248009358\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/episodes/grantchester-s1-e1/\" target=\"_blank\" rel=\"noopener noreferrer\">PBS, \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=ftJ9TKX3wZs\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube;\u003c/a> \u003cem>Line of Duty\u003c/em> available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B07RRGPTVJ/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://play.google.com/store/tv/show?id=367W_LaDsj4&cdid=tvseason-WPoANXuJ_XVTCvLhvkKu7Q&gdid=tvepisode-t4VB8Mmt8ls\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play,\u003c/a> \u003ca href=\"https://www.hulu.com/series/0efc0f95-c575-46da-b28f-a30a13d86b37\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a> \u003ca href=\"https://itunes.apple.com/us/tv-season/episode-6/id1239948393?i=1240562203\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes,\u003c/a> \u003ca href=\"https://tv.youtube.com/browse/line-of-duty-UCaAelRWU4cE05Hojwt6pOiQ?utm_source=onebox\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.)\u003cbr>\n—\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Old school real-time strategy games\u003cbr>\n\u003c/strong>You start with a town center and a villager or two. You send them off to build, or chop down trees, or farm, or mine ore, and gradually (the \u003cem>gradually\u003c/em> is what makes it relaxing!) you can start building armies and navies and upgrading your town. You watch it all happen from above, and there’s something incredibly peaceful about pulling back and seeing so many industrious little workers toiling away happily. (If you’ve spent any time in management, I don’t need to tell you how joyous the sight of people \u003cem>just doing the damn jobs you told them to do \u003c/em>can be.) Inevitably, because even pixelated humans are human, war comes—enemy troops descend on you, or you descend on your enemies. Some delight in this later stage of the game, as they relish the strategy and tactics of combat—but me, I’m happiest when a new game begins, and a tiny little dude with a tiny little wheelbarrow looks up at me expectantly, just wanting to be \u003cem>of use\u003c/em>. (You can find games like Age of the Empires, Battle for Middle Earth and Starcraft on \u003ca href=\"https://store.steampowered.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>.)\u003cbr>\n—\u003cem> Glen Weldon, panelist, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The music from \u003c/strong>\u003cem>\u003cstrong>City of Angels, Golden Boy\u003c/strong>\u003c/em>\u003cstrong> and\u003c/strong>\u003cem>\u003cstrong> Raisin\u003cbr>\n\u003c/strong>\u003c/em>Broadway musicals nurtured me in my youth. Though I’m now an unrepentant Sondheimite, I fondly remember the scores of other composers and lyricists that kept me going between his shows—especially the jazzily obscure musicals that never seem to get revived these days. The glory of the Web is that they’re all at your fingertips. Say, Cy (\u003cem>Sweet Charity\u003c/em>) Coleman’s swinging detective musical-noir in \u003ca href=\"https://www.youtube.com/watch?v=M5QhFKE2GO8&list=PL445ADD730F46C816\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>City of Angels\u003c/em>,\u003c/a> or the sultry stylings that the creators of \u003cem>Bye Bye Birdie\u003c/em> fashioned for Sammy Davis Jr. in their boxing-ring musical \u003ca href=\"https://www.youtube.com/watch?v=OGqr3M-fajI&list=PLq01lsXqwzONpf-GYKwsgQrIqkwymyRGk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Golden Boy\u003c/em>.\u003c/a> And I’ve a special sweet spot in my heart for the musical \u003ca href=\"https://www.youtube.com/watch?v=6TPt4NzZreg&list=OLAK5uy_njf_RNyAufq1YFmp4K6qHhK3LjAGgZb0w\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Raisin\u003c/em>,\u003c/a> based on Lorraine Hansberry’s \u003cem>A Raisin in the Sun\u003c/em>, that premiered at Washington’s Arena Stage and featured one of the the most delectable jazz scores I’ve ever heard.\u003cbr>\n\u003cem>— Bob Mondello, film critic\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cheers\u003cbr>\n\u003c/strong>\u003c/em>Sure, we all know \u003cem>Cheers\u003c/em>, but that’s its appeal—sometimes you want to go \u003ca href=\"https://www.youtube.com/watch?v=h-mi0r0LpXo\" target=\"_blank\" rel=\"noopener noreferrer\">“Where everybody knows your name…”\u003c/a> I return to it time and again for its recognizable sitcom tropes and familiar comedic rhythms—you’d be hard-pressed to find a show as packed with still-hilarious set-pieces and pingponging patter. Whether you tuned in each week from 1982 to 1993, or during reruns, or, now in a many-seasons-long binge, you’ll come to care deeply about these Boston bar knuckleheads as your own surrogate family and friends. I can’t think of anything more comforting than that. (Plus, once you hit the end of its 11 seasons, just keep going—with another 11 seasons of its spinoff, \u003ca href=\"https://www.imdb.com/title/tt0106004/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Frasier\u003c/em>\u003c/a>!) (Available on \u003ca href=\"https://www.amazon.com/gp/video/detail/B00CV36NKU/ref=atv_dl_rdr\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime,\u003c/a> \u003ca href=\"https://www.cbs.com/shows/cheers/video/DXMbCNIG050KaYm2Tl82QQAyP6WO8E65/cheers-one-for-the-road-part-3/?searchReferral=google\" target=\"_blank\" rel=\"noopener noreferrer\">CBS,\u003c/a> \u003ca href=\"https://www.hulu.com/series/6db3756a-27a8-4c55-a285-c695e28fd977\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu,\u003c/a>\u003ca href=\"https://itunes.apple.com/us/tv-season/one-for-the-road-pt-3/id476989385?i=477043997\" target=\"_blank\" rel=\"noopener noreferrer\"> iTunes,\u003c/a> \u003ca href=\"https://www.netflix.com/title/70152640?source=35\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=x8H4Xkb9qhU\" target=\"_blank\" rel=\"noopener noreferrer\"> YouTube\u003c/a>)\u003cbr>\n—\u003cem> Mike Katzif, producer, \u003c/em>Pop Culture Happy Hour\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/ncc77oxnx5A'\n title='//www.youtube.com/embed/ncc77oxnx5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>West African Peanut Soup\u003cbr>\n\u003c/strong>I was in college when Mark Bittman posted \u003ca href=\"https://cooking.nytimes.com/recipes/1012581-west-african-peanut-soup-with-chicken\" target=\"_blank\" rel=\"noopener noreferrer\">this recipe\u003c/a> for West African chicken stew. I cooked pretty much everything he wrote back then, and while most recipes have faded in my memory this one stuck because it is\u003cem> magic.\u003c/em> I cannot explain why this combination of things you likely already have in your kitchen (peanut butter, garlic, a can of tomatoes, a chicken thigh in the back of your freezer, maybe?) and a few fresh veggies (kale, sweet potatoes) has become one of my all time favorite comfort meals, but it has. I make this soup when people are sick, or are having babies. I make it when the news is scary. I make it when the kale looks nice at the farmer’s market. I make it when I just have nothing else to do. It’s gluten- and dairy-free, so it works for a variety of diets and restrictions. (I’m sure you could make it vegetarian—just leave out the chicken. Maybe add some chickpeas.) It feels healthy and it comes together fast. When I made it yesterday, I didn’t have peanuts, and I used Japanese white sweet potatoes and added fish sauce. Go crazy!\u003cbr>\n—\u003cem> Rose Friedman, editor\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graveyard Keeper\u003c/strong>\u003c/em>\u003cstrong>\u003cbr>\n\u003c/strong>Really, any farming-type simulator game will do here—\u003cem>Stardew Valley, \u003c/em>granddaddy of them all \u003cem>Harvest Moon,\u003c/em> even \u003cem>Minecraft,\u003c/em> if the occasional zombie or spider doesn’t stress you out too much, and you like mining as much as farming—as long as it’s got soothingly repetitive action and lulling music. Plant endless crops? Yes! Dig lots of holes? Yes! Befriend local villagers? A thousand times yes! But what if you want that sweet, sweet farming sim action, and the times are just too grim to truly enjoy bringing endless sacks of flour to the Harvest Sprites? My friends, you need \u003cem>Graveyard Keeper.\u003c/em> You play as the maintenance man for a Medievalish graveyard, clearing stumps and weeds, improving your land, prettifying the graves, building relationships with the locals—all the activities common to farming sims. But also, you might be turning the regularly delivered bodies into mystery meat to sell at the tavern, and staging witch-burnings to get in good with the local inquisitor (while making a profit off mystery meat burgers you sell to the crowds). Fair warning—there are long periods in \u003cem>Graveyard Keeper\u003c/em> where you’re just grinding to get to the next level. But sometimes, that’s what you need to make the real world go away. And the music is \u003cem>really\u003c/em> soothing. (Available on \u003ca href=\"https://store.steampowered.com/app/599140/Graveyard_Keeper/\" target=\"_blank\" rel=\"noopener noreferrer\">Steam\u003c/a>, \u003ca href=\"https://www.microsoft.com/en-us/p/graveyard-keeper/c11gzgmkrtcv?activetab=pivot:overviewtab\" target=\"_blank\" rel=\"noopener noreferrer\">Xbox\u003c/a> and \u003ca href=\"https://www.nintendo.com/games/detail/graveyard-keeper-switch/\" target=\"_blank\" rel=\"noopener noreferrer\">Switch\u003c/a>)\u003cbr>\n—\u003cem> Petra Mayer, editor, NPR Books\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Art of Solitude \u003c/strong>\u003c/em>\u003cstrong>by Stephen Batchelor\u003cbr>\n\u003c/strong>I can’t think of a better time to read about how artists and writers have approached the idea of solitude—a concept that can range from loneliness to ecstasy. In \u003ca href=\"https://www.npr.org/books/titles/816253306/the-art-of-solitude-a-meditation-on-being-alone-with-others-in-this-world\" target=\"_blank\" rel=\"noopener noreferrer\">this short book (or audiobook),\u003c/a> Batchelor, a longtime Buddhist teacher, mixes in his own stories of being alone and at ease.\u003cbr>\n—\u003cem> Ted Robbins, editor\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here%27s+How+We+Cope+When+We%27re+Stressed%3A+Ideas+From+NPR%27s+Arts+Desk&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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