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"title": "Christmas Song Cliché Bingo, 2019 Pop Music Edition",
"headTitle": "Christmas Song Cliché Bingo, 2019 Pop Music Edition | KQED",
"content": "\u003cp>It’s that time of year again, when a sizable percentage of beloved musicians refuse to release any new material unless it’s bogged down in festive tropes. I know what you’re all (probably? maybe? not at all?) wondering: Do 2019’s primary contenders for “new Christmas classic” have any staying power? Well, that depends on how many seasonal mentions the singers can cram into a single track. Let me introduce you to a little game I’m going to call… Christmas Cliché Bingo.\u003c/p>\n\u003cp>The bingo card combines all of the key elements from the two contemporary songs that dominate every festive season: Mariah Carey’s “\u003ca href=\"https://www.youtube.com/watch?v=yXQViqx6GMY\" target=\"_blank\" rel=\"noopener noreferrer\">All I Want For Christmas is You\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=j9jbdgZidu8\" target=\"_blank\" rel=\"noopener noreferrer\">Fairytale of New York\u003c/a>” by the Pogues and Kirsty MacColl. Feel free to print it out, play along, and use it for drinking game-related purposes throughout the festive season.\u003c/p>\n\u003cfigure id=\"attachment_13871309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-800x800.jpg\" alt=\"Christmas Song Bingo\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christmas Song Bingo\u003c/figcaption>\u003c/figure>\n\u003cp>[NB: The “Non-Gift Wishlist” square applies to every mention of wanting something for Christmas that isn’t a physical present.]\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Liam Payne, “All I Want (For Christmas)”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871326 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The ex-One Direction singer has the distinction of only ticking three boxes on the cliché card, thanks to his bold decision to write a seasonal song about clinging desperately to an unhealthy relationship for reasons that remain entirely unclear.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The complete and total absence of sleigh bells.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Almost none. You will probably never hear this again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C9vsr9i_AFM\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Alessia Cara, “Make it to Christmas”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871331 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Alessia Cara’s seasonal single is basically a jauntier version of Liam Payne’s. She too is clinging to a relationship for arbitrary seasonal reasons, except she’s added a soupçon of familial guilt to make the whole thing even more unreasonable.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The lyrics “Don’t know what I’ll say to dad when he sees the empty chair / Don’t wanna hear my mom say ‘Told you so’” are so brazenly manipulative, it’s astonishing.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Only in department stores.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QLrmP9GBd3c\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Kelly Rowland, “Love You More at Christmas Time” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871323 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This is the song equivalent of a warm bowl of rice pudding. No one is particularly excited about it, but no one is mad at it either. Feel free to shrug your way through it nonchalantly.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> No idea. I’ve already forgotten how it goes.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Only at your auntie’s house.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_Dw9uSWdUqI\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Ne-Yo, “Just Ain’t Christmas”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871330 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If you want a song that makes you feel seasonal, sexy and sad simultaneously, this is the one for you. Ne-Yo also has the distinction of being the first artist on this list to describe a human woman as if she’s a metaphorical gift.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> First Christmas song of 2019 you can grind to.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Only in The Club.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k-k8TJqs6o8\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Little Mix, “One I’ve Been Missing” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871327 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s a heartfelt ballad about looking forward to spending the holidays with your boo. Because you spend all year away from your boo. Seems quite specific to being in a touring band, but you do you, Little Mix.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The ’60s girl group vibes on the chorus.\u003cbr>\n\u003cstrong>Longevity: \u003c/strong>A couple of years… but only in the U.K.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=31&v=HN6GHQroP1I&feature=emb_logo\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jonas Brothers, “Like It’s Christmas”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871324 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All you need to know is that it’s enough of a hand-clap-infused bop that all the clichés become somehow more tolerable.\u003cstrong>\u003cbr>\nBest Bit:\u003c/strong> The actual sense of joy peppered throughout.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Totally dependent on how long Priyanka Chopra and Nick Jonas appear happy in their marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_Bb8wRx_T4\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Lea Michele, “Christmas in New York”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871328 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Lea Michele’s ode to New York sounds less like a real tribute to the city, and more like a checklist of tourist crap she’s crossing off from a brochure. If you’ve ever wondered what it would sound like if someone wrote a song for the holidays with the express aim of licensing it for a plethora of regional advertising, wonder no more.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The shoutout to Thanksgiving at the start is okay I guess?\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Will be used on every New York tourist board commercial, every winter, until the end of time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DudygHca9AY\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Taylor Swift, “Christmas Tree Farm” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871322 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All that really matters here is that if you encored this track with “We Are Never Ever Getting Back Together,” “Welcome to New York” and Swift’s 2007 \u003ca href=\"https://en.wikipedia.org/wiki/The_Taylor_Swift_Holiday_Collection\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holiday Collection\u003c/em>\u003c/a> EP, you’d have a full bingo card. The song is fine, but whatever.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The “You-hoo-hoo!” part at the end that sounds like the chorus to “\u003ca href=\"https://www.youtube.com/watch?v=FuXNumBwDOM\" target=\"_blank\" rel=\"noopener noreferrer\">ME!\u003c/a>”\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Probably. But only because it’s Taylor Swift.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mN3rDTAdM2o\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Katy Perry, “Cozy Little Christmas” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871329 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Is it okay to rhyme “whisky” with “frisky,” and “stressin'” with “caressin'”? Of course not. \u003cem>And\u003c/em> this Christmas single scores almost a complete card in Cliché Bingo. But it’s also the only one that’s been stuck in my head all week, so… Goddamnit, Katy Perry, you win.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The plinky piano.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Amazon Music subscribers had exclusive access to this a full year ago, but now this earworm has been unfurled on the rest of the world, expect to be cursing it annually for a long time to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sg8Gk1iXEIs\u003c/p>\n\n",
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"excerpt": "We count the clichés in this year's Christmas pop releases—and figure out which songs we'll have to hear in the future.",
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"description": "We count the clichés in this year's Christmas pop releases—and figure out which songs we'll have to hear in the future.",
"title": "Christmas Song Cliché Bingo, 2019 Pop Music Edition | KQED",
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"headline": "Christmas Song Cliché Bingo, 2019 Pop Music Edition",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year again, when a sizable percentage of beloved musicians refuse to release any new material unless it’s bogged down in festive tropes. I know what you’re all (probably? maybe? not at all?) wondering: Do 2019’s primary contenders for “new Christmas classic” have any staying power? Well, that depends on how many seasonal mentions the singers can cram into a single track. Let me introduce you to a little game I’m going to call… Christmas Cliché Bingo.\u003c/p>\n\u003cp>The bingo card combines all of the key elements from the two contemporary songs that dominate every festive season: Mariah Carey’s “\u003ca href=\"https://www.youtube.com/watch?v=yXQViqx6GMY\" target=\"_blank\" rel=\"noopener noreferrer\">All I Want For Christmas is You\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=j9jbdgZidu8\" target=\"_blank\" rel=\"noopener noreferrer\">Fairytale of New York\u003c/a>” by the Pogues and Kirsty MacColl. Feel free to print it out, play along, and use it for drinking game-related purposes throughout the festive season.\u003c/p>\n\u003cfigure id=\"attachment_13871309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-800x800.jpg\" alt=\"Christmas Song Bingo\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christmas Song Bingo\u003c/figcaption>\u003c/figure>\n\u003cp>[NB: The “Non-Gift Wishlist” square applies to every mention of wanting something for Christmas that isn’t a physical present.]\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Liam Payne, “All I Want (For Christmas)”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871326 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-5-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The ex-One Direction singer has the distinction of only ticking three boxes on the cliché card, thanks to his bold decision to write a seasonal song about clinging desperately to an unhealthy relationship for reasons that remain entirely unclear.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The complete and total absence of sleigh bells.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Almost none. You will probably never hear this again.\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/C9vsr9i_AFM'\n title='//www.youtube.com/embed/C9vsr9i_AFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Alessia Cara, “Make it to Christmas”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871331 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-10-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Alessia Cara’s seasonal single is basically a jauntier version of Liam Payne’s. She too is clinging to a relationship for arbitrary seasonal reasons, except she’s added a soupçon of familial guilt to make the whole thing even more unreasonable.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The lyrics “Don’t know what I’ll say to dad when he sees the empty chair / Don’t wanna hear my mom say ‘Told you so’” are so brazenly manipulative, it’s astonishing.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Only in department stores.\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/QLrmP9GBd3c'\n title='//www.youtube.com/embed/QLrmP9GBd3c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Kelly Rowland, “Love You More at Christmas Time” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871323 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-2-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This is the song equivalent of a warm bowl of rice pudding. No one is particularly excited about it, but no one is mad at it either. Feel free to shrug your way through it nonchalantly.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> No idea. I’ve already forgotten how it goes.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Only at your auntie’s house.\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/_Dw9uSWdUqI'\n title='//www.youtube.com/embed/_Dw9uSWdUqI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Ne-Yo, “Just Ain’t Christmas”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871330 alignnone\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-9-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If you want a song that makes you feel seasonal, sexy and sad simultaneously, this is the one for you. Ne-Yo also has the distinction of being the first artist on this list to describe a human woman as if she’s a metaphorical gift.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> First Christmas song of 2019 you can grind to.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Only in The Club.\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/k-k8TJqs6o8'\n title='//www.youtube.com/embed/k-k8TJqs6o8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Little Mix, “One I’ve Been Missing” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871327 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-6-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s a heartfelt ballad about looking forward to spending the holidays with your boo. Because you spend all year away from your boo. Seems quite specific to being in a touring band, but you do you, Little Mix.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The ’60s girl group vibes on the chorus.\u003cbr>\n\u003cstrong>Longevity: \u003c/strong>A couple of years… but only in the U.K.\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/HN6GHQroP1I'\n title='//www.youtube.com/embed/HN6GHQroP1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Jonas Brothers, “Like It’s Christmas”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871324 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All you need to know is that it’s enough of a hand-clap-infused bop that all the clichés become somehow more tolerable.\u003cstrong>\u003cbr>\nBest Bit:\u003c/strong> The actual sense of joy peppered throughout.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Totally dependent on how long Priyanka Chopra and Nick Jonas appear happy in their marriage.\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/d_Bb8wRx_T4'\n title='//www.youtube.com/embed/d_Bb8wRx_T4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Lea Michele, “Christmas in New York”\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871328 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-7-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Lea Michele’s ode to New York sounds less like a real tribute to the city, and more like a checklist of tourist crap she’s crossing off from a brochure. If you’ve ever wondered what it would sound like if someone wrote a song for the holidays with the express aim of licensing it for a plethora of regional advertising, wonder no more.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The shoutout to Thanksgiving at the start is okay I guess?\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Will be used on every New York tourist board commercial, every winter, until the end of time.\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/DudygHca9AY'\n title='//www.youtube.com/embed/DudygHca9AY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Taylor Swift, “Christmas Tree Farm” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871322 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All that really matters here is that if you encored this track with “We Are Never Ever Getting Back Together,” “Welcome to New York” and Swift’s 2007 \u003ca href=\"https://en.wikipedia.org/wiki/The_Taylor_Swift_Holiday_Collection\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Holiday Collection\u003c/em>\u003c/a> EP, you’d have a full bingo card. The song is fine, but whatever.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The “You-hoo-hoo!” part at the end that sounds like the chorus to “\u003ca href=\"https://www.youtube.com/watch?v=FuXNumBwDOM\" target=\"_blank\" rel=\"noopener noreferrer\">ME!\u003c/a>”\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Probably. But only because it’s Taylor Swift.\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/mN3rDTAdM2o'\n title='//www.youtube.com/embed/mN3rDTAdM2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>Katy Perry, “Cozy Little Christmas” \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871329 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/xmas-song-bingo-FINAL-8-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Is it okay to rhyme “whisky” with “frisky,” and “stressin'” with “caressin'”? Of course not. \u003cem>And\u003c/em> this Christmas single scores almost a complete card in Cliché Bingo. But it’s also the only one that’s been stuck in my head all week, so… Goddamnit, Katy Perry, you win.\u003cbr>\n\u003cstrong>Best Bit:\u003c/strong> The plinky piano.\u003cbr>\n\u003cstrong>Longevity:\u003c/strong> Amazon Music subscribers had exclusive access to this a full year ago, but now this earworm has been unfurled on the rest of the world, expect to be cursing it annually for a long time to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sg8Gk1iXEIs'\n title='//www.youtube.com/embed/sg8Gk1iXEIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer Marie Fredriksson, who co-founded the hitmaking Swedish pop group Roxette, died yesterday in Sweden. She was 61 years old.\u003c/p>\n\u003cp>Before she became one of the most recognizable voices of her era, Fredricksson grew up in a tiny village, where her mom was a factory worker and her dad a postman. There wasn’t any day care, so he’d take her along while delivering mail and sing to her—the experience was formative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2C5TjS2sh4\u003c/p>\n\u003cp>Fredriksson \u003ca href=\"http://www.mariefredriksson.se/bio.php\">began\u003c/a> her music career in earnest as a teenager, performing in bands before going solo. But later, as half of Roxette, Fredriksson scored half a dozen hits—including the one above—and sold around 75 million albums. Frederiksson was diagnosed with brain cancer seventeen years ago, but she kept recording and touring until 2016, when her illness eventually forced her and bandmate Per Gessle to \u003ca href=\"https://www.thelocal.se/20160418/swedish-roxette-cancel-europe-summer-tour\">cancel\u003c/a> an upcoming summer tour.\u003c/p>\n\u003cp>Speaking in 2015, Fredriksson \u003ca href=\"https://vi.se/artikel/srwAdMdB-a0Ev3DKW-e491b\">recalled\u003c/a>, to the Swedish magazine \u003cem>Vi\u003c/em>, of her extended period of sickness: “When things were at their most difficult… even if nobody else believed in me, I believed in myself. Felt I had to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yCC_b5WHLX0\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Roxette%27s+Marie+Fredriksson+Dead+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Marie Fredriksson, who co-founded the hitmaking Swedish pop group Roxette, died yesterday in Sweden. She was 61 years old.\u003c/p>\n\u003cp>Before she became one of the most recognizable voices of her era, Fredricksson grew up in a tiny village, where her mom was a factory worker and her dad a postman. There wasn’t any day care, so he’d take her along while delivering mail and sing to her—the experience was formative.\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/k2C5TjS2sh4'\n title='//www.youtube.com/embed/k2C5TjS2sh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fredriksson \u003ca href=\"http://www.mariefredriksson.se/bio.php\">began\u003c/a> her music career in earnest as a teenager, performing in bands before going solo. But later, as half of Roxette, Fredriksson scored half a dozen hits—including the one above—and sold around 75 million albums. Frederiksson was diagnosed with brain cancer seventeen years ago, but she kept recording and touring until 2016, when her illness eventually forced her and bandmate Per Gessle to \u003ca href=\"https://www.thelocal.se/20160418/swedish-roxette-cancel-europe-summer-tour\">cancel\u003c/a> an upcoming summer tour.\u003c/p>\n\u003cp>Speaking in 2015, Fredriksson \u003ca href=\"https://vi.se/artikel/srwAdMdB-a0Ev3DKW-e491b\">recalled\u003c/a>, to the Swedish magazine \u003cem>Vi\u003c/em>, of her extended period of sickness: “When things were at their most difficult… even if nobody else believed in me, I believed in myself. Felt I had to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">Bikini Kill reunited\u003c/a> in Los Angeles earlier this year, it was a near-religious experience for longtime fans who hadn’t seen them since their split in 1997.\u003c/p>\n\u003cp>Now, the pioneering riot grrrl band is back to headline \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a> in Oakland. Burger Records’ annual fest returns to Mosswood Park on July 11–12, 2020, and it marks Bikini Kill’s first Bay Area show in 25 years.\u003c/p>\n\u003cp>Other punk royalty, including the Circle Jerks and Alice Bag, join Bikini Kill on the bill. The rest of the lineup includes a variety of punk, post-punk, indie rock and garage rock acts—veterans and young musicians alike—including Plastic Bertrand, Bleached, Pansy Division, Flipper, Carbonas, The Fevers, The Younger Lovers, Panty Raid and Midnite Snaxxx. As always, Burger Boogaloo is hosted by director and counterculture hero \u003ca href=\"https://www.kqed.org/arts/13860384/john-waters-talks-microdosing-homelessness-and-cops-in-pride-before-burger-boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo is running a holiday ticket special to celebrate the lineup announcement. \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RM31JAhFT88\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">Bikini Kill reunited\u003c/a> in Los Angeles earlier this year, it was a near-religious experience for longtime fans who hadn’t seen them since their split in 1997.\u003c/p>\n\u003cp>Now, the pioneering riot grrrl band is back to headline \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Burger Boogaloo\u003c/a> in Oakland. Burger Records’ annual fest returns to Mosswood Park on July 11–12, 2020, and it marks Bikini Kill’s first Bay Area show in 25 years.\u003c/p>\n\u003cp>Other punk royalty, including the Circle Jerks and Alice Bag, join Bikini Kill on the bill. The rest of the lineup includes a variety of punk, post-punk, indie rock and garage rock acts—veterans and young musicians alike—including Plastic Bertrand, Bleached, Pansy Division, Flipper, Carbonas, The Fevers, The Younger Lovers, Panty Raid and Midnite Snaxxx. As always, Burger Boogaloo is hosted by director and counterculture hero \u003ca href=\"https://www.kqed.org/arts/13860384/john-waters-talks-microdosing-homelessness-and-cops-in-pride-before-burger-boogaloo\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo is running a holiday ticket special to celebrate the lineup announcement. \u003ca href=\"https://www.eventbrite.com/e/burger-boogaloo-11-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\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/RM31JAhFT88'\n title='//www.youtube.com/embed/RM31JAhFT88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rapper Juice WRLD Dead At Age 21",
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"content": "\u003cp>According to media reports, the fast-rising rapper Juice WRLD has died at age 21 after a medical emergency at Chicago’s Midway Airport. TMZ first \u003ca href=\"https://chicago.suntimes.com/2019/12/8/21001244/chicago-rapper-juice-wrld-dead-midway-airport-seizure\">reported\u003c/a> the death, saying that witnesses saw him having a seizure after disembarking from a private plane.\u003c/p>\n\u003cp>The Chicago Police Department confirmed to NPR on Sunday morning that a “21-year-old male suffered a medical emergency” at Midway, and was transported to Christ Hospital, where he was pronounced dead. The CPD spokesperson said that detectives are conducting a death investigation, but no further information was available.\u003c/p>\n\u003cp>Juice WRLD was born Jarad Anthony Higgins in 1998, and grew up in the Chicago area. In March, the rapper hit No. 1 on the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8502815/juice-wrld-billboard-200-no-1-album-death-race-for-love\">Billboard 200\u003c/a> chart with his album \u003cem>Death Race for Love\u003c/em>; earlier this week, Spotify announced that he was among the \u003ca href=\"https://www.billboard.com/articles/business/streaming/8545219/drake-ed-sheeran-spotifys-most-streamed-decade-wrapped\">top five\u003c/a> male artists streamed in the U.S. this year.\u003c/p>\n\u003cp>He first came to mainstream recognition with a 2017 EP, \u003cem>Nothings Different\u003c/em>; soon after, he signed a contract with Interscope worth a \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8244598/juice-wrld-signs-interscope-3-million-joint-venture\">reported\u003c/a> $3 million. One of the EP’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=mzB1VGEGcSU\">Lucid Dreams\u003c/a>,” went to No. 2 on the Billboard Hot 100. \u003c/p>\n\u003cp>In an unpublished interview with NPR’s Rodney Carmichael recorded this March, Juice WRLD talked about his reputation for making emo rap, and how, in his opinion, hip-hop has evolved towards emotional vulnerability. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel like people are not afraid to touch on all their emotions,” he said. “Back in the day, especially when everybody was trying to act hard all the time, I feel like people just wasn’t touching on that side of their life. I don’t know if they were scared or they was in fear … but I feel as though some of the people now are more mature and more grown than the people back then because they talk about everything that they went through. Everything, not just the violence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Juice WRLD continued, “If they was involved in traphouses and violence and all that other stuff, they don’t just talk about that. They talk about everything. One song could be about a band or a traphouse. The next song could be about somebody writing love letters and crying in the traphouse because they shorty left them or cheated or something.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 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=Reports%3A+Rapper+Juice+WRLD+Dead+At+Age+21&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to media reports, the fast-rising rapper Juice WRLD has died at age 21 after a medical emergency at Chicago’s Midway Airport. TMZ first \u003ca href=\"https://chicago.suntimes.com/2019/12/8/21001244/chicago-rapper-juice-wrld-dead-midway-airport-seizure\">reported\u003c/a> the death, saying that witnesses saw him having a seizure after disembarking from a private plane.\u003c/p>\n\u003cp>The Chicago Police Department confirmed to NPR on Sunday morning that a “21-year-old male suffered a medical emergency” at Midway, and was transported to Christ Hospital, where he was pronounced dead. The CPD spokesperson said that detectives are conducting a death investigation, but no further information was available.\u003c/p>\n\u003cp>Juice WRLD was born Jarad Anthony Higgins in 1998, and grew up in the Chicago area. In March, the rapper hit No. 1 on the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8502815/juice-wrld-billboard-200-no-1-album-death-race-for-love\">Billboard 200\u003c/a> chart with his album \u003cem>Death Race for Love\u003c/em>; earlier this week, Spotify announced that he was among the \u003ca href=\"https://www.billboard.com/articles/business/streaming/8545219/drake-ed-sheeran-spotifys-most-streamed-decade-wrapped\">top five\u003c/a> male artists streamed in the U.S. this year.\u003c/p>\n\u003cp>He first came to mainstream recognition with a 2017 EP, \u003cem>Nothings Different\u003c/em>; soon after, he signed a contract with Interscope worth a \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8244598/juice-wrld-signs-interscope-3-million-joint-venture\">reported\u003c/a> $3 million. One of the EP’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=mzB1VGEGcSU\">Lucid Dreams\u003c/a>,” went to No. 2 on the Billboard Hot 100. \u003c/p>\n\u003cp>In an unpublished interview with NPR’s Rodney Carmichael recorded this March, Juice WRLD talked about his reputation for making emo rap, and how, in his opinion, hip-hop has evolved towards emotional vulnerability. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel like people are not afraid to touch on all their emotions,” he said. “Back in the day, especially when everybody was trying to act hard all the time, I feel like people just wasn’t touching on that side of their life. I don’t know if they were scared or they was in fear … but I feel as though some of the people now are more mature and more grown than the people back then because they talk about everything that they went through. Everything, not just the violence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Juice WRLD continued, “If they was involved in traphouses and violence and all that other stuff, they don’t just talk about that. They talk about everything. One song could be about a band or a traphouse. The next song could be about somebody writing love letters and crying in the traphouse because they shorty left them or cheated or something.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 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=Reports%3A+Rapper+Juice+WRLD+Dead+At+Age+21&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Opera\u003c/a> has a new music director. It’s the first time a top-tier opera company in the United States has hired a woman in this role.\u003c/p>\n\u003cp>An accomplished orchestral conductor, \u003ca href=\"https://sfopera.com/about-us/people/bios/artists/Eun-Sun-Kim/\" target=\"_blank\" rel=\"noopener noreferrer\">Eun Sun Kim \u003c/a>is originally from South Korea, and is under 40. She stands out among the other people holding key artistic positions in the opera world, who are mostly white, male and older.\u003c/p>\n\u003cp>“It’s very unusual to have a female conductor for any major opera house or symphony. San Francisco Opera only had their first main stage woman conductor in 2004—Sara Jobin, with \u003cem>Tosca—\u003c/em>and only has had a handful since,” said Bay Area-based opera commentator Charlise Tiee, who blogs at \u003ca href=\"https://operatattler.typepad.com/opera/\" target=\"_blank\" rel=\"noopener noreferrer\">The Opera Tattler\u003c/a>. “I think it’s a great choice and it’s a long time coming.”\u003c/p>\n\u003cp>Indeed, the roster of women in top artistic roles with opera companies around the country is pitifully short. The Chicago Opera Theater, a smaller company than the San Francisco Opera, also has a woman music director, Lidiya Yankovskaya. Karen Keltner was a resident conductor with the San Diego Opera for many years, a role with fewer responsibilities than music director. Francesca Zambello, who often directs productions in San Francisco, stands alone as an artistic director of a major U.S. opera company: she leads the Washington National Opera.\u003c/p>\n\u003cp>Kim is the fourth person to have held the role of music director with the nearly 100-year-old San Francisco Opera. She succeeds Italian conductor Nicola Luisotti, who left in 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“From my very first moments at San Francisco Opera, I felt this was home,” said Kim in a press release. “There was an unusual feeling of open collaboration across so many facets of the company—a real sense of professional alchemy.”\u003c/p>\n\u003cp>Kim’s career includes significant credits as a conductor in both opera houses and concert halls. She has led productions for major opera companies like the Washington National Opera and the Houston Grand Opera. Her symphonic appearances include the Los Angeles Philharmonic, and she has upcoming engagements with the New York Philharmonic and the Metropolitan Opera House.\u003c/p>\n\u003cp>“I am moved to hear that my gifted colleague Eun Sun Kim, in addition to being Houston Grand Opera’s principal guest conductor, will be the new music director of San Francisco Opera,” said Patrick Summers, artistic and music director of the Houston Grand Opera, in an email. “She is a brilliant musician, a superb conductor, a keen judge of talent and an empathic and gracious colleague. She is the perfect person at the perfect time for beloved company.”\u003c/p>\n\u003cp>Kim, who conducted the San Francisco Opera’s recent production of \u003cem>Rusalka\u003c/em>, officially begins her tenure in August 2021. Her responsibilities will include leading the opera’s orchestra, chorus and music staff as well as helping with artistic planning.\u003c/p>\n\u003cp>She’ll be making an early appearance with the company this Friday, Dec. 6, leading some of its young resident artists—the Adler Fellows—in their \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/2019-Adler-Fellows-Concert/\" target=\"_blank\" rel=\"noopener noreferrer\">final concert\u003c/a> of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Eun Sun Kim brings a unique energy to San Francisco Opera,” said the company’s director general, Matthew Shilvock, in a press statement. “She connects all of us—audiences, artists, technicians, administrators—in the pursuit of one singular artistic journey, bringing thoughtful leadership, deep compassion and an incredible respect for everyone in the theater.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Opera\u003c/a> has a new music director. It’s the first time a top-tier opera company in the United States has hired a woman in this role.\u003c/p>\n\u003cp>An accomplished orchestral conductor, \u003ca href=\"https://sfopera.com/about-us/people/bios/artists/Eun-Sun-Kim/\" target=\"_blank\" rel=\"noopener noreferrer\">Eun Sun Kim \u003c/a>is originally from South Korea, and is under 40. She stands out among the other people holding key artistic positions in the opera world, who are mostly white, male and older.\u003c/p>\n\u003cp>“It’s very unusual to have a female conductor for any major opera house or symphony. San Francisco Opera only had their first main stage woman conductor in 2004—Sara Jobin, with \u003cem>Tosca—\u003c/em>and only has had a handful since,” said Bay Area-based opera commentator Charlise Tiee, who blogs at \u003ca href=\"https://operatattler.typepad.com/opera/\" target=\"_blank\" rel=\"noopener noreferrer\">The Opera Tattler\u003c/a>. “I think it’s a great choice and it’s a long time coming.”\u003c/p>\n\u003cp>Indeed, the roster of women in top artistic roles with opera companies around the country is pitifully short. The Chicago Opera Theater, a smaller company than the San Francisco Opera, also has a woman music director, Lidiya Yankovskaya. Karen Keltner was a resident conductor with the San Diego Opera for many years, a role with fewer responsibilities than music director. Francesca Zambello, who often directs productions in San Francisco, stands alone as an artistic director of a major U.S. opera company: she leads the Washington National Opera.\u003c/p>\n\u003cp>Kim is the fourth person to have held the role of music director with the nearly 100-year-old San Francisco Opera. She succeeds Italian conductor Nicola Luisotti, who left in 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“From my very first moments at San Francisco Opera, I felt this was home,” said Kim in a press release. “There was an unusual feeling of open collaboration across so many facets of the company—a real sense of professional alchemy.”\u003c/p>\n\u003cp>Kim’s career includes significant credits as a conductor in both opera houses and concert halls. She has led productions for major opera companies like the Washington National Opera and the Houston Grand Opera. Her symphonic appearances include the Los Angeles Philharmonic, and she has upcoming engagements with the New York Philharmonic and the Metropolitan Opera House.\u003c/p>\n\u003cp>“I am moved to hear that my gifted colleague Eun Sun Kim, in addition to being Houston Grand Opera’s principal guest conductor, will be the new music director of San Francisco Opera,” said Patrick Summers, artistic and music director of the Houston Grand Opera, in an email. “She is a brilliant musician, a superb conductor, a keen judge of talent and an empathic and gracious colleague. She is the perfect person at the perfect time for beloved company.”\u003c/p>\n\u003cp>Kim, who conducted the San Francisco Opera’s recent production of \u003cem>Rusalka\u003c/em>, officially begins her tenure in August 2021. Her responsibilities will include leading the opera’s orchestra, chorus and music staff as well as helping with artistic planning.\u003c/p>\n\u003cp>She’ll be making an early appearance with the company this Friday, Dec. 6, leading some of its young resident artists—the Adler Fellows—in their \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/2019-Adler-Fellows-Concert/\" target=\"_blank\" rel=\"noopener noreferrer\">final concert\u003c/a> of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Eun Sun Kim brings a unique energy to San Francisco Opera,” said the company’s director general, Matthew Shilvock, in a press statement. “She connects all of us—audiences, artists, technicians, administrators—in the pursuit of one singular artistic journey, bringing thoughtful leadership, deep compassion and an incredible respect for everyone in the theater.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpWftLOWXLY\u003c/p>\n\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=94bdMSCdw20\u003c/p>\n\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mcPDgWMkEiM\u003c/p>\n\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3&v=3u4Pe2YHH-Y&feature=emb_logo\u003c/p>\n\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Po61rjjdUPs\u003c/p>\n\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4W9VYY5QpLg\u003c/p>\n\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\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/zpWftLOWXLY'\n title='//www.youtube.com/embed/zpWftLOWXLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\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/94bdMSCdw20'\n title='//www.youtube.com/embed/94bdMSCdw20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\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/mcPDgWMkEiM'\n title='//www.youtube.com/embed/mcPDgWMkEiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\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/3u4Pe2YHH-Y'\n title='//www.youtube.com/embed/3u4Pe2YHH-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\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/Po61rjjdUPs'\n title='//www.youtube.com/embed/Po61rjjdUPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\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/4W9VYY5QpLg'\n title='//www.youtube.com/embed/4W9VYY5QpLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Local Gifts, a Nia Wilson Film, Angel Olsen and Other Picks for Dec. 5-12",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Michael Feinstein\u003c/strong>: I don’t wanna say it… you don’t wanna admit it… but the holidays are here. And along with it come holiday concerts. It’s my personal opinion that if you’re gonna do a holiday concert, you should go all the way into syrupy sentimentalism, and after seeing him earlier this year, I can say that Michael Feinstein is the master of it. A constantly beaming smile, between-song stories about home and mother, it’s the whole nostalgic package. There’s a reason he’s among the best in the cabaret field. Michael Feinstein’s holiday show runs Thursday through Sunday, Dec. 5-8, in the elegant confines of Feinstein’s at the Nikko Hotel in San Francisco. \u003ca href=\"https://www.feinsteinssf.com/event/5f0c1805eed4142b59212366151094c7\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Angel Olsen\u003c/strong>: The other night I was at this sort of avant-drag theater performance in downtown Oakland, when one of the artists performed “\u003ca href=\"https://www.youtube.com/watch?v=6uaN60k0-zY\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a>” by the songwriter Angel Olsen. It’s the opening song on her most recent album, \u003cem>All Mirrors\u003c/em>, and it really impressed on me just how instantly classic her work is—that in the midst of these ’90s rock anthems and expected torch songs, a drag queen does a two-month old ballad by Angel Olsen. She performs Saturday, Dec. 7, at the Fox Theater. \u003ca href=\"http://thefoxoakland.com/events/angel-olsen\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ashara Ekandayo Gallery Closing Reception\u003c/strong>: Nia Wilson, the 18-year-old woman who was murdered at MacArthur BART station a year and a half ago, had a lot of friends, a bright future, and with her cousins, a rap group, Girlz N the Hood. This week, there’s a short video screening and multimedia performance of \u003cem>Nia Wilson Station\u003c/em>, a project that examines the dangers that black women face in public spaces. It’s part of the final First Friday reception for Ashara Ekandayo Gallery, which is closing after two years with a show called \u003cem>Adjust Yo Eyes for This Darkness\u003c/em>. The reception and screening is Friday, Dec. 6, from 6pm–9pm, at Ashara Ekandayo Gallery in Oakland. \u003ca href=\"https://www.asharaekundayogallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Local Gift Ideas\u003c/strong>: On Friday, Dec. 6, Oakland arts nonprofit \u003cstrong>Creative Growth\u003c/strong> holds their annual holiday studio sale. Creative Growth has played a critical role in promoting artwork by people with disabilities for decades, and this is a longstanding event where you can buy original works at affordable prices. It’s decorated the homes of some of my more stylish friends. \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. On Saturday, Dec. 7, the \u003cstrong>East Bay Alternative Book & Zine Fest\u003c/strong> gets underway at Omni Commons in Oakland—the tenth annual installment of a crucial self-publishing summit. \u003ca href=\"https://omnicommons.org/calendar/events/10th-annual-east-bay-alternative-book-zine-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. And finally, on Sunday, Dec. 8, \u003cstrong>SFMOMA\u003c/strong> presents a small press book bazaar with community partners including Colpa Press and the Black Aesthetic. This event coincides with the opening of a new exhibition, \u003cem>Printed Publics: Contemporary Art and Design Publishing in the Bay Area\u003c/em>, and admission to the entire museum is free all day. \u003ca href=\"https://www.sfmoma.org/event/small-press-book-bazaar/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Storm Large\u003c/strong>: Many people know this wonderful pop vocalist as a singer in the lounge- and classical-influenced ensemble Pink Martini. As for her own solo concerts… they can get \u003ca href=\"https://www.youtube.com/watch?v=0kWpsB8x2Xs\" rel=\"noopener noreferrer\" target=\"_blank\">a little raucous\u003c/a>. Large brings her show “Holiday Ordeal” to the Hammer Theatre Center in San Jose on Saturday, Dec. 7; there’s an early show for the family, and a late show for adults that’s more risqué. Details here. And next weekend, coming full circle on this week’s picks, she’ll be at Feinstein’s in San Francisco; \u003ca href=\"https://www.feinsteinssf.com/event/fd576714964c8312665bd2f560da54d5\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Michael Feinstein\u003c/strong>: I don’t wanna say it… you don’t wanna admit it… but the holidays are here. And along with it come holiday concerts. It’s my personal opinion that if you’re gonna do a holiday concert, you should go all the way into syrupy sentimentalism, and after seeing him earlier this year, I can say that Michael Feinstein is the master of it. A constantly beaming smile, between-song stories about home and mother, it’s the whole nostalgic package. There’s a reason he’s among the best in the cabaret field. Michael Feinstein’s holiday show runs Thursday through Sunday, Dec. 5-8, in the elegant confines of Feinstein’s at the Nikko Hotel in San Francisco. \u003ca href=\"https://www.feinsteinssf.com/event/5f0c1805eed4142b59212366151094c7\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Angel Olsen\u003c/strong>: The other night I was at this sort of avant-drag theater performance in downtown Oakland, when one of the artists performed “\u003ca href=\"https://www.youtube.com/watch?v=6uaN60k0-zY\" rel=\"noopener noreferrer\" target=\"_blank\">Lark\u003c/a>” by the songwriter Angel Olsen. It’s the opening song on her most recent album, \u003cem>All Mirrors\u003c/em>, and it really impressed on me just how instantly classic her work is—that in the midst of these ’90s rock anthems and expected torch songs, a drag queen does a two-month old ballad by Angel Olsen. She performs Saturday, Dec. 7, at the Fox Theater. \u003ca href=\"http://thefoxoakland.com/events/angel-olsen\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ashara Ekandayo Gallery Closing Reception\u003c/strong>: Nia Wilson, the 18-year-old woman who was murdered at MacArthur BART station a year and a half ago, had a lot of friends, a bright future, and with her cousins, a rap group, Girlz N the Hood. This week, there’s a short video screening and multimedia performance of \u003cem>Nia Wilson Station\u003c/em>, a project that examines the dangers that black women face in public spaces. It’s part of the final First Friday reception for Ashara Ekandayo Gallery, which is closing after two years with a show called \u003cem>Adjust Yo Eyes for This Darkness\u003c/em>. The reception and screening is Friday, Dec. 6, from 6pm–9pm, at Ashara Ekandayo Gallery in Oakland. \u003ca href=\"https://www.asharaekundayogallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Local Gift Ideas\u003c/strong>: On Friday, Dec. 6, Oakland arts nonprofit \u003cstrong>Creative Growth\u003c/strong> holds their annual holiday studio sale. Creative Growth has played a critical role in promoting artwork by people with disabilities for decades, and this is a longstanding event where you can buy original works at affordable prices. It’s decorated the homes of some of my more stylish friends. \u003ca href=\"https://creativegrowth.org/exhibitions/holiday-studio-sale-2019\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. On Saturday, Dec. 7, the \u003cstrong>East Bay Alternative Book & Zine Fest\u003c/strong> gets underway at Omni Commons in Oakland—the tenth annual installment of a crucial self-publishing summit. \u003ca href=\"https://omnicommons.org/calendar/events/10th-annual-east-bay-alternative-book-zine-fest/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. And finally, on Sunday, Dec. 8, \u003cstrong>SFMOMA\u003c/strong> presents a small press book bazaar with community partners including Colpa Press and the Black Aesthetic. This event coincides with the opening of a new exhibition, \u003cem>Printed Publics: Contemporary Art and Design Publishing in the Bay Area\u003c/em>, and admission to the entire museum is free all day. \u003ca href=\"https://www.sfmoma.org/event/small-press-book-bazaar/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Storm Large\u003c/strong>: Many people know this wonderful pop vocalist as a singer in the lounge- and classical-influenced ensemble Pink Martini. As for her own solo concerts… they can get \u003ca href=\"https://www.youtube.com/watch?v=0kWpsB8x2Xs\" rel=\"noopener noreferrer\" target=\"_blank\">a little raucous\u003c/a>. Large brings her show “Holiday Ordeal” to the Hammer Theatre Center in San Jose on Saturday, Dec. 7; there’s an early show for the family, and a late show for adults that’s more risqué. Details here. And next weekend, coming full circle on this week’s picks, she’ll be at Feinstein’s in San Francisco; \u003ca href=\"https://www.feinsteinssf.com/event/fd576714964c8312665bd2f560da54d5\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "EMPIRE Brought the Music Industry Back to San Francisco",
"title": "EMPIRE Brought the Music Industry Back to San Francisco",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">By the early 2010s, the Bay Area’s rap scene was coming down from the high of the hyphy movement, which had flourished in the decade prior. Although Warner Brothers had a hit with E-40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and the Lil Jon-produced “Tell Me When To Go” peaked in the Top 40, the dread-shaking, pill-popping subgenre didn’t go mainstream as predicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The region had also lost some of its music industry clout from the ’80s and ’90s, when Bill Graham Presents was one of the country’s most powerful promoters; Lookout Records took pop punk from East Bay subculture to platinum-selling genre; and Jive and Virgin were signing local rappers like Too $hort, E-40, Luniz and Richie Rich. Not to mention, the entire industry was figuring out how to turn a profit in the streaming age: Spotify debuted in the United States in 2011, lowering overall payments to artists and devaluing recorded music as a whole.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this shifting landscape, a San Francisco audio engineer named Ghazi Shami claimed his place in a new niche with a digital-first enterprise. When his label \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a> debuted in 2010, its proprietary software for getting music onto platforms and keeping track of royalties became a huge draw for artists. Keeping its focus primarily to rap, EMPIRE helped local artists develop strategies for the digital age when selling CDs out of car trunks no longer sufficed. Over the last decade, it became a crucial link between the Bay Area’s talent and the tech companies driving change, including Apple in Cupertino and Pandora in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By 2011, EMPIRE’s influence spread along the West Coast, with the label distributing early projects by Kendrick Lamar and Schoolboy Q. By 2012, EMPIRE had over a dozen entries on the Billboard charts—including an EP by Snoop Dogg, and Trinidad James’ hit “All Gold Everything,” which was inescapable at clubs at the time. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-491968329-800x533.jpg\" alt=\"Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California. \u003ccite>(Imeh Akpanudosen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet even among this roster of rising mainstream artists and established hitmakers, EMPIRE never lost sight of the Bay Area’s rap scene. It released projects by Oakland street rap mainstays J Stalin and Philthy Rich, and helped Fairfield’s Sage the Gemini usher in a new wave of West Coast party music with his 2013 hit “Gas Pedal.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His whole life and career, Ghazi watched talented creatives come up in the Bay Area and have to move elsewhere to fulfill their career goals and aspirations,” says EMPIRE Vice President Nima Etminan. “When he has the chance to do something on his own, a big part of his M.O. is to do it here in San Francisco, to provide a home for people in his community, and to hire people from his community so that the next generation of G-Eazys and Kehlanis don’t feel the need to move away from home to have a career.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As rap began to eclipse rock as America’s most popular genre, EMPIRE’s early releases attested to Shami’s keen ear for new sounds. Migos’ 2013 “Versace,” for instance, popularized a new cadence from Atlanta, the triplet flow, which transformed the sound of rap this decade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s flexible contracts were another key to its early success. Rather than locking promising artists into six-album deals as a major label would, EMPIRE put out one-off releases and moved nimbly, matching the pace of a genre informed by viral trends. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you aren’t able to get the music out to the masses, that music can stall or falter if you’re on a traditional release schedule,” says Gavin Rhodes, the co-founder of the music PR company Audible Treats, whose client Young Dolph rose from Memphis standout to mainstream star thanks to the label. “Ghazi and EMPIRE very much embraced the immediacy of the genre and of the artists.”\u003c/span>\u003c/p>\n\u003cp>Over the years, EMPIRE expanded from primarily a digital distributor to a full-service record label and publishing company, working with artists on merchandise, brand partnerships, radio placements and sync opportunities for commercials and television. “I think now distribution is an afterthought, technology takes care of distribution,” says Etminan. “The key for companies like ours is to add value to what the artist is doing.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That can mean pairing an emerging talent with the right songwriters and producers; locking in collaborators for music videos; and making sure their songs and videos get the right placements and promotion on streaming platforms. “And down to sitting down and talking to artists about basic things like their vision, their goals, their motivations—what they want to get out of being an artist so we can figure out how to best position them,” Etminan continues. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg\" alt=\"EMPIRE artist Rexx Life Raj.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EMPIRE artist Rexx Life Raj. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This individualized approach allowed EMPIRE to play a key role in the rise of Northern California artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, and to rehabilitate some established stars’ careers. With EMPIRE’s help, Fat Joe and Remy Ma logged their biggest hit in over a decade with 2016’s Grammy-nominated “All the Way Up.” The label helped orchestrate a second act for Tyga; took a chance on unlikely (and highly controversial) Florida star XXXtentacion; and played a key role in the rise of top West Coast talent like Southern California’s Anderson .Paak and Vallejo’s SOB x RBE. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the past two years, EMPIRE has only gotten bigger. In 2018, the company announced a \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" target=\"_blank\" rel=\"noopener noreferrer\">distribution partnership\u003c/a> with Universal Music Group, and earlier this year, EMPIRE opened the doors to a new recording studio in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s expansions have coincided with other forms of growth in the local music industry. At the beginning of 2019, Bandcamp established a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">\u003cspan style=\"font-weight: 400\">downtown Oakland headquarters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and venue with an emphasis on local, independent artists. And San Francisco’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\">\u003cspan style=\"font-weight: 400\">Text Me Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> emerged from the city’s historic Different Fur Studios, which was famous for recording jazz greats like Herbie Hancock in the ’70s and has since transformed into an incubator for emerging Bay Area artists such as Tia Nomore and Drew Banga. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s team is now global, spanning New York, London, Atlanta, Amsterdam and Jakarta (following its success with rapper Rich Brian, EMPIRE has its sights set on Indonesia and the Philippines). Yet the label remains firmly rooted in Shami’s hometown, with its headquarters overlooking San Francisco’s financial district. And for Bay Area artists who wouldn’t otherwise have an in with the traditional record label system, their commitment to creating opportunity in the region has been a lifeline. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Ghazi could easily go to L.A., and it could grow ten-times faster real quick,” says Rexx Life Raj. “But he’s so adamant about staying home and building something from home cause he loves the Bay so much.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">By the early 2010s, the Bay Area’s rap scene was coming down from the high of the hyphy movement, which had flourished in the decade prior. Although Warner Brothers had a hit with E-40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and the Lil Jon-produced “Tell Me When To Go” peaked in the Top 40, the dread-shaking, pill-popping subgenre didn’t go mainstream as predicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The region had also lost some of its music industry clout from the ’80s and ’90s, when Bill Graham Presents was one of the country’s most powerful promoters; Lookout Records took pop punk from East Bay subculture to platinum-selling genre; and Jive and Virgin were signing local rappers like Too $hort, E-40, Luniz and Richie Rich. Not to mention, the entire industry was figuring out how to turn a profit in the streaming age: Spotify debuted in the United States in 2011, lowering overall payments to artists and devaluing recorded music as a whole.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this shifting landscape, a San Francisco audio engineer named Ghazi Shami claimed his place in a new niche with a digital-first enterprise. When his label \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a> debuted in 2010, its proprietary software for getting music onto platforms and keeping track of royalties became a huge draw for artists. Keeping its focus primarily to rap, EMPIRE helped local artists develop strategies for the digital age when selling CDs out of car trunks no longer sufficed. Over the last decade, it became a crucial link between the Bay Area’s talent and the tech companies driving change, including Apple in Cupertino and Pandora in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By 2011, EMPIRE’s influence spread along the West Coast, with the label distributing early projects by Kendrick Lamar and Schoolboy Q. By 2012, EMPIRE had over a dozen entries on the Billboard charts—including an EP by Snoop Dogg, and Trinidad James’ hit “All Gold Everything,” which was inescapable at clubs at the time. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-491968329-800x533.jpg\" alt=\"Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California. \u003ccite>(Imeh Akpanudosen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet even among this roster of rising mainstream artists and established hitmakers, EMPIRE never lost sight of the Bay Area’s rap scene. It released projects by Oakland street rap mainstays J Stalin and Philthy Rich, and helped Fairfield’s Sage the Gemini usher in a new wave of West Coast party music with his 2013 hit “Gas Pedal.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His whole life and career, Ghazi watched talented creatives come up in the Bay Area and have to move elsewhere to fulfill their career goals and aspirations,” says EMPIRE Vice President Nima Etminan. “When he has the chance to do something on his own, a big part of his M.O. is to do it here in San Francisco, to provide a home for people in his community, and to hire people from his community so that the next generation of G-Eazys and Kehlanis don’t feel the need to move away from home to have a career.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As rap began to eclipse rock as America’s most popular genre, EMPIRE’s early releases attested to Shami’s keen ear for new sounds. Migos’ 2013 “Versace,” for instance, popularized a new cadence from Atlanta, the triplet flow, which transformed the sound of rap this decade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s flexible contracts were another key to its early success. Rather than locking promising artists into six-album deals as a major label would, EMPIRE put out one-off releases and moved nimbly, matching the pace of a genre informed by viral trends. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you aren’t able to get the music out to the masses, that music can stall or falter if you’re on a traditional release schedule,” says Gavin Rhodes, the co-founder of the music PR company Audible Treats, whose client Young Dolph rose from Memphis standout to mainstream star thanks to the label. “Ghazi and EMPIRE very much embraced the immediacy of the genre and of the artists.”\u003c/span>\u003c/p>\n\u003cp>Over the years, EMPIRE expanded from primarily a digital distributor to a full-service record label and publishing company, working with artists on merchandise, brand partnerships, radio placements and sync opportunities for commercials and television. “I think now distribution is an afterthought, technology takes care of distribution,” says Etminan. “The key for companies like ours is to add value to what the artist is doing.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That can mean pairing an emerging talent with the right songwriters and producers; locking in collaborators for music videos; and making sure their songs and videos get the right placements and promotion on streaming platforms. “And down to sitting down and talking to artists about basic things like their vision, their goals, their motivations—what they want to get out of being an artist so we can figure out how to best position them,” Etminan continues. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg\" alt=\"EMPIRE artist Rexx Life Raj.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EMPIRE artist Rexx Life Raj. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This individualized approach allowed EMPIRE to play a key role in the rise of Northern California artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, and to rehabilitate some established stars’ careers. With EMPIRE’s help, Fat Joe and Remy Ma logged their biggest hit in over a decade with 2016’s Grammy-nominated “All the Way Up.” The label helped orchestrate a second act for Tyga; took a chance on unlikely (and highly controversial) Florida star XXXtentacion; and played a key role in the rise of top West Coast talent like Southern California’s Anderson .Paak and Vallejo’s SOB x RBE. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the past two years, EMPIRE has only gotten bigger. In 2018, the company announced a \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" target=\"_blank\" rel=\"noopener noreferrer\">distribution partnership\u003c/a> with Universal Music Group, and earlier this year, EMPIRE opened the doors to a new recording studio in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s expansions have coincided with other forms of growth in the local music industry. At the beginning of 2019, Bandcamp established a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">\u003cspan style=\"font-weight: 400\">downtown Oakland headquarters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and venue with an emphasis on local, independent artists. And San Francisco’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\">\u003cspan style=\"font-weight: 400\">Text Me Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> emerged from the city’s historic Different Fur Studios, which was famous for recording jazz greats like Herbie Hancock in the ’70s and has since transformed into an incubator for emerging Bay Area artists such as Tia Nomore and Drew Banga. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s team is now global, spanning New York, London, Atlanta, Amsterdam and Jakarta (following its success with rapper Rich Brian, EMPIRE has its sights set on Indonesia and the Philippines). Yet the label remains firmly rooted in Shami’s hometown, with its headquarters overlooking San Francisco’s financial district. And for Bay Area artists who wouldn’t otherwise have an in with the traditional record label system, their commitment to creating opportunity in the region has been a lifeline. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kelly Clarkson and Fred Rogers. Both are much-loved national treasures who embody family values and wholesome hearts. So it made perfect sense on Tuesday when everyone’s favorite \u003cem>American Idol\u003c/em> winner covered Mister Rogers’ classic “Won’t You Be My Neighbor?”\u003c/p>\n\u003cp>Clarkson gave the theme tune a soulful, easy listening vibe as part of her \u003ca href=\"https://www.nbc.com/kelly-clarkson-show\" target=\"_blank\" rel=\"noopener noreferrer\">daytime talk show\u003c/a> on NBC. The cover was chosen to tie in with Tuesday’s guest, Tom Hanks, who was appearing in support of his role playing Rogers in the new movie \u003ca href=\"https://www.imdb.com/title/tt3224458/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Beautiful Day in the Neighborhood\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You can hear Kelly’s laid back jazzy take on the song below. (And if you pay close attention, you’ll notice some very special outfits in the audience…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nngz6cAKsaE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kelly Clarkson and Fred Rogers. Both are much-loved national treasures who embody family values and wholesome hearts. So it made perfect sense on Tuesday when everyone’s favorite \u003cem>American Idol\u003c/em> winner covered Mister Rogers’ classic “Won’t You Be My Neighbor?”\u003c/p>\n\u003cp>Clarkson gave the theme tune a soulful, easy listening vibe as part of her \u003ca href=\"https://www.nbc.com/kelly-clarkson-show\" target=\"_blank\" rel=\"noopener noreferrer\">daytime talk show\u003c/a> on NBC. The cover was chosen to tie in with Tuesday’s guest, Tom Hanks, who was appearing in support of his role playing Rogers in the new movie \u003ca href=\"https://www.imdb.com/title/tt3224458/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Beautiful Day in the Neighborhood\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You can hear Kelly’s laid back jazzy take on the song below. (And if you pay close attention, you’ll notice some very special outfits in the audience…)\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/Nngz6cAKsaE'\n title='//www.youtube.com/embed/Nngz6cAKsaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s a pairing that feels fundamentally bizarre, but also somehow inevitable. She’s an avant-garde artist who has dabbled with pop; he’s an experimental rock star with a penchant for surrealism. And together, Laurie Anderson and Mike Patton are going to be performing a 16th century text by a general from the Ming Dynasty. No, really.\u003c/p>\n\u003cp>The seeds for this three-night run at SFJAZZ were planted last May, when Patton briefly performed with Anderson during her set with Terry Riley and John Zorn at the Chapel in San Francisco. The pair will now tackle “Quanjing Jieyao Pian”—a chapter of a \u003ca href=\"https://books.google.com/books/about/An_English_Translation_of_General_QI_Jig.html?id=Lx6ytAEACAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">1560 military instruction manual\u003c/a> written by Chinese General Qi Jiguang, that focuses on unarmed combat exercises. Roughly translated, the title means “Chapter on the Fist Canon and the Essentials of Nimbleness.”\u003c/p>\n\u003cp>Patton, a Eureka native, is most famous for his work as the frontman of the rock band Faith No More, but he has a long history of boundary-pushing in outfits like Mr. Bungle, Fantômas and Hemophiliac. Anderson’s background is rooted in performance art and sound experimentation, and she is the current resident artistic director of SFJAZZ.\u003c/p>\n\u003cp>It’s impossible to predict in advance what these two innovators will conjure up together—previews promise only “an exploration of vocal styles.” One thing’s for sure though. It definitely won’t be boring. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a pairing that feels fundamentally bizarre, but also somehow inevitable. She’s an avant-garde artist who has dabbled with pop; he’s an experimental rock star with a penchant for surrealism. And together, Laurie Anderson and Mike Patton are going to be performing a 16th century text by a general from the Ming Dynasty. No, really.\u003c/p>\n\u003cp>The seeds for this three-night run at SFJAZZ were planted last May, when Patton briefly performed with Anderson during her set with Terry Riley and John Zorn at the Chapel in San Francisco. The pair will now tackle “Quanjing Jieyao Pian”—a chapter of a \u003ca href=\"https://books.google.com/books/about/An_English_Translation_of_General_QI_Jig.html?id=Lx6ytAEACAAJ\" target=\"_blank\" rel=\"noopener noreferrer\">1560 military instruction manual\u003c/a> written by Chinese General Qi Jiguang, that focuses on unarmed combat exercises. Roughly translated, the title means “Chapter on the Fist Canon and the Essentials of Nimbleness.”\u003c/p>\n\u003cp>Patton, a Eureka native, is most famous for his work as the frontman of the rock band Faith No More, but he has a long history of boundary-pushing in outfits like Mr. Bungle, Fantômas and Hemophiliac. Anderson’s background is rooted in performance art and sound experimentation, and she is the current resident artistic director of SFJAZZ.\u003c/p>\n\u003cp>It’s impossible to predict in advance what these two innovators will conjure up together—previews promise only “an exploration of vocal styles.” One thing’s for sure though. It definitely won’t be boring. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As rain falls on greater Northern California, and snow accumulates on the Sierra Nevada mountains, I keep laughing in disbelief, thinking about Kaddo’s situation.\u003c/p>\n\u003cp>See, Kaddo is a rapper from 77th and Greenside in East Oakland. After getting transferred from Telsa’s Fremont factory to the one in Reno, he now lives in Nevada. He’s so committed to his craft and community, he used to drive back and forth just to record tracks.\u003c/p>\n\u003cp>A few weeks ago, I saw him in person and he told me about life on the interstate. How living in Reno isn’t that bad, though some folks say the city’s name is an acronym for “Run Every N*gg* Out.” He says Nevada’s open carry laws have made living there more comfortable than in Oakland, at least when it comes to weapons. And he’s even gotten accustomed to the long slowdown over Donner Summit when there’s a storm approaching. The image of Kaddo, a black man with locs and gold teeth, putting chains on his car tires in the middle of the snowstorm sticks with me. It’s a reminder that although my commute is bad, \u003cem>it ain’t that bad\u003c/em>.\u003c/p>\n\u003cp>But it’s still bad.\u003c/p>\n\u003cp>Since \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moving out of Oakland\u003c/a> to Sacramento three months ago, I’ve seen a lot: car accidents, roadkill, sunsets. I’ve driven past the charred fields from fires that scorched the grassy hillsides adjacent to the Carquinez Bridge. One day on Amtrak, my phone died, so I biked home through hail. When I turned my phone on, I learned a tornado had touched down in Davis at the same time my train went through town. And then there was the day the dammed refinery in Crockett exploded; it caused my Greyhound bus to take the supremely scenic route—a four-hour detour through Stockton.\u003c/p>\n\u003cp>I often ask myself, what’s the difference between a “commute” and “road trip”?\u003c/p>\n\u003cp>I’ve grown extremely familiar with the highways and byways between the Bay Area and the state capital. I know best times to go through the Yolo Bypass, as well as the MacArthur Maze (hint: never). I’ve gotten familiar with where CHP likes to hide out to catch speeding drivers. Hell, give me a few more months and I’ll have memorized the grazing patterns of the cattle alongside I-80.\u003c/p>\n\u003cp>I’ve reluctantly fallen in love with this commute, and how it gives me time to think about more than just Oakland. But I always end up thinking about Oakland. If we’re going to be honest, I’m suffering, bro. It ain’t even FOMO. It’s POMO—the pain of missing out.\u003c/p>\n\u003cp>It hurts to not be in the town for small events. You know, potlucks, movie screenings and earthquakes—“Earthquake Twitter” just isn’t as fun from outside of the club. I think anyone who’s left home goes through this process. You know, where home isn’t home anymore, and at the same time, your new home isn’t home either.\u003c/p>\n\u003cp>So I’ve been trying to hold on to things that remind me of home. The result: long rides turn into listening sessions as I tap into\u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=EiDtFdoGR2a6PCg8grlBbg\" target=\"_blank\" rel=\"noopener noreferrer\"> some of the greatest musical gifts\u003c/a> the Bay Area has to offer.\u003c/p>\n\u003cfigure id=\"attachment_13870530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Kaddo-800x562.jpg\" alt=\"Kaddo.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaddo. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve listened to all four of the projects \u003ca href=\"https://www.larryjunetfm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> put out this year— and I’ve enjoyed every last bar about healthy salads and fly cars; even if he does sometimes have an off-beat flow.\u003c/p>\n\u003cp>I’ve chuckled at the comedic bars from Guapdad 4000, who released his first album \u003ca href=\"https://soundcloud.com/guapdad4000/sets/dior-deposits-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dior Deposits\u003c/em>\u003c/a> last month. And I’ve downright cracked up listening to \u003ca href=\"https://www.rollingstone.com/music/music-news/shaq-damian-lillard-rap-beef-explainer-893406/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame D.O.L.L.A. trade bars with Shaq Fu\u003c/a>.\u003c/p>\n\u003cp>I played the latest project from the duo SU’Lan, \u003ca href=\"https://soundcloud.com/officialsulan/sets/tia-tamera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tia and Tamera\u003c/em>\u003c/a>, and instantly started to drive faster. It’s wild how certain music does that.\u003c/p>\n\u003cp>Nef The Pharoh dropped \u003ca href=\"https://soundcloud.com/nefidelaphante/sets/mushrooms-coloring-books\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mushrooms and Coloring Books\u003c/em>\u003c/a>, and now every time my Greyhound passes the Vallejo bus station, I get the urge to play the track “South Vallejo.”\u003c/p>\n\u003cp>Prezi Plane Jane dropped a seven-piece special called \u003ca href=\"https://soundcloud.com/planejane12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Money Bag\u003c/em>\u003c/a>. Beejus dropped a dozen tracks on a project called \u003ca href=\"https://soundcloud.com/beejusmusic/sets/beautiful\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beautiful\u003c/em>\u003c/a>. And Tia Nomore dropped a 30-minute project called \u003ca href=\"https://ffm.to/level\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Level\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Of course, I listened to \u003ca href=\"https://www.youtube.com/watch?v=Jxau-deuEYE&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Kaddo’s latest work\u003c/a>. I mean, he travels twice the distance I do in order to do his work; I had to listen solely off the strength of that.\u003c/p>\n\u003cp>I’ve played music from elder statesmen, like E-40, who recently put out \u003ca href=\"https://soundcloud.com/e40/sets/practice-makes-paper-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Practice Makes Paper\u003c/em>\u003c/a>, a 26-track project for his 26th studio album. I’ve listened to artists in the thick of their career like P-Lo, who between producing for other artists and serving as spokesperson for the 49ers dropped \u003ca href=\"https://soundcloud.com/heartbreakplo/sets/shine\" target=\"_blank\" rel=\"noopener noreferrer\">Shine\u003c/a>.\u003c/p>\n\u003cp>And I’ve also paid attention to new artists, like \u003ca href=\"https://fanlink.to/DaysWeLost\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Sneed\u003c/a>. Man! His \u003cem>Days We Lost\u003c/em> album is \u003cem>made\u003c/em> for looking out of the window during long drives. It’s all about the coming-of-age process; I swear, the song “\u003ca href=\"https://www.youtube.com/watch?v=Yw7_Fgaf8PU\" target=\"_blank\" rel=\"noopener noreferrer\">Junior\u003c/a>” could be a theme song to a movie, playing over old footage from when he was younger.\u003c/p>\n\u003cp>The passing of time, the passing of the scenery. All in a day’s commute.\u003c/p>\n\u003cfigure id=\"attachment_13870425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg\" alt=\"Michael Sneed\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-799x1200.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young Michael Sneed graces the stage at the Life Is Living festival in Oakland, circa 2011. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was this one morning, a few weeks ago, when my dadmobile pushed past the Red Top Road exit on I-80, headed west. Beyond the cows and the spot where the motorcycle cop sometimes hides, and just before cresting the hillside that separates Fairfield from Vallejo. That’s when Rexx Life Raj’s song “\u003ca href=\"https://www.youtube.com/watch?v=E3976ZIbJc8\" target=\"_blank\" rel=\"noopener noreferrer\">The Fog\u003c/a>” came on.\u003c/p>\n\u003cp>No lie, at that exact moment, wisps of Bay Area fog began to accumulate in front of my car. A few seconds later, I was inside a full fog bank. I let out one of those laughs that deranged people do in the movies, pounding the steering wheel in excitement at the perfect timing of it all.\u003c/p>\n\u003cp>“Ayy, walk through the fog like bay weather / Still undefeated like Mayweather / I know I’m doin’ it right / The universe sendin’ me signs in bold letters,” Raj sang.\u003c/p>\n\u003cp>I feel him. I’m on my path too, and all the signs are there.\u003c/p>\n\u003cp>Even though I’m late for work in San Francisco, tired of driving 80mph on Interstate 80 in attempts to make it to and from Sacramento in under 80 minutes. Back pains from sitting. Pocket pains from spending. The last three months have been rough. But man, music.\u003c/p>\n\u003cp>What’s the old saying? When it hits, you feel no pain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Stream Pendarvis Harshaw’s hand-curated playlist for long-distance commuting below. Not showing up for you? \u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=rzszES1JSBaa9HKwIS4xDQ\">Click here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/3jqXw1a8N8wdApp1B6k7pA\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As rain falls on greater Northern California, and snow accumulates on the Sierra Nevada mountains, I keep laughing in disbelief, thinking about Kaddo’s situation.\u003c/p>\n\u003cp>See, Kaddo is a rapper from 77th and Greenside in East Oakland. After getting transferred from Telsa’s Fremont factory to the one in Reno, he now lives in Nevada. He’s so committed to his craft and community, he used to drive back and forth just to record tracks.\u003c/p>\n\u003cp>A few weeks ago, I saw him in person and he told me about life on the interstate. How living in Reno isn’t that bad, though some folks say the city’s name is an acronym for “Run Every N*gg* Out.” He says Nevada’s open carry laws have made living there more comfortable than in Oakland, at least when it comes to weapons. And he’s even gotten accustomed to the long slowdown over Donner Summit when there’s a storm approaching. The image of Kaddo, a black man with locs and gold teeth, putting chains on his car tires in the middle of the snowstorm sticks with me. It’s a reminder that although my commute is bad, \u003cem>it ain’t that bad\u003c/em>.\u003c/p>\n\u003cp>But it’s still bad.\u003c/p>\n\u003cp>Since \u003ca href=\"https://www.kqed.org/arts/13865533/daps-and-hugs-im-moving-out-of-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">moving out of Oakland\u003c/a> to Sacramento three months ago, I’ve seen a lot: car accidents, roadkill, sunsets. I’ve driven past the charred fields from fires that scorched the grassy hillsides adjacent to the Carquinez Bridge. One day on Amtrak, my phone died, so I biked home through hail. When I turned my phone on, I learned a tornado had touched down in Davis at the same time my train went through town. And then there was the day the dammed refinery in Crockett exploded; it caused my Greyhound bus to take the supremely scenic route—a four-hour detour through Stockton.\u003c/p>\n\u003cp>I often ask myself, what’s the difference between a “commute” and “road trip”?\u003c/p>\n\u003cp>I’ve grown extremely familiar with the highways and byways between the Bay Area and the state capital. I know best times to go through the Yolo Bypass, as well as the MacArthur Maze (hint: never). I’ve gotten familiar with where CHP likes to hide out to catch speeding drivers. Hell, give me a few more months and I’ll have memorized the grazing patterns of the cattle alongside I-80.\u003c/p>\n\u003cp>I’ve reluctantly fallen in love with this commute, and how it gives me time to think about more than just Oakland. But I always end up thinking about Oakland. If we’re going to be honest, I’m suffering, bro. It ain’t even FOMO. It’s POMO—the pain of missing out.\u003c/p>\n\u003cp>It hurts to not be in the town for small events. You know, potlucks, movie screenings and earthquakes—“Earthquake Twitter” just isn’t as fun from outside of the club. I think anyone who’s left home goes through this process. You know, where home isn’t home anymore, and at the same time, your new home isn’t home either.\u003c/p>\n\u003cp>So I’ve been trying to hold on to things that remind me of home. The result: long rides turn into listening sessions as I tap into\u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=EiDtFdoGR2a6PCg8grlBbg\" target=\"_blank\" rel=\"noopener noreferrer\"> some of the greatest musical gifts\u003c/a> the Bay Area has to offer.\u003c/p>\n\u003cfigure id=\"attachment_13870530\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Kaddo-800x562.jpg\" alt=\"Kaddo.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Kaddo.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kaddo. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve listened to all four of the projects \u003ca href=\"https://www.larryjunetfm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> put out this year— and I’ve enjoyed every last bar about healthy salads and fly cars; even if he does sometimes have an off-beat flow.\u003c/p>\n\u003cp>I’ve chuckled at the comedic bars from Guapdad 4000, who released his first album \u003ca href=\"https://soundcloud.com/guapdad4000/sets/dior-deposits-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dior Deposits\u003c/em>\u003c/a> last month. And I’ve downright cracked up listening to \u003ca href=\"https://www.rollingstone.com/music/music-news/shaq-damian-lillard-rap-beef-explainer-893406/\" target=\"_blank\" rel=\"noopener noreferrer\">Dame D.O.L.L.A. trade bars with Shaq Fu\u003c/a>.\u003c/p>\n\u003cp>I played the latest project from the duo SU’Lan, \u003ca href=\"https://soundcloud.com/officialsulan/sets/tia-tamera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tia and Tamera\u003c/em>\u003c/a>, and instantly started to drive faster. It’s wild how certain music does that.\u003c/p>\n\u003cp>Nef The Pharoh dropped \u003ca href=\"https://soundcloud.com/nefidelaphante/sets/mushrooms-coloring-books\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mushrooms and Coloring Books\u003c/em>\u003c/a>, and now every time my Greyhound passes the Vallejo bus station, I get the urge to play the track “South Vallejo.”\u003c/p>\n\u003cp>Prezi Plane Jane dropped a seven-piece special called \u003ca href=\"https://soundcloud.com/planejane12\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Money Bag\u003c/em>\u003c/a>. Beejus dropped a dozen tracks on a project called \u003ca href=\"https://soundcloud.com/beejusmusic/sets/beautiful\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beautiful\u003c/em>\u003c/a>. And Tia Nomore dropped a 30-minute project called \u003ca href=\"https://ffm.to/level\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Level\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Of course, I listened to \u003ca href=\"https://www.youtube.com/watch?v=Jxau-deuEYE&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Kaddo’s latest work\u003c/a>. I mean, he travels twice the distance I do in order to do his work; I had to listen solely off the strength of that.\u003c/p>\n\u003cp>I’ve played music from elder statesmen, like E-40, who recently put out \u003ca href=\"https://soundcloud.com/e40/sets/practice-makes-paper-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Practice Makes Paper\u003c/em>\u003c/a>, a 26-track project for his 26th studio album. I’ve listened to artists in the thick of their career like P-Lo, who between producing for other artists and serving as spokesperson for the 49ers dropped \u003ca href=\"https://soundcloud.com/heartbreakplo/sets/shine\" target=\"_blank\" rel=\"noopener noreferrer\">Shine\u003c/a>.\u003c/p>\n\u003cp>And I’ve also paid attention to new artists, like \u003ca href=\"https://fanlink.to/DaysWeLost\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Sneed\u003c/a>. Man! His \u003cem>Days We Lost\u003c/em> album is \u003cem>made\u003c/em> for looking out of the window during long drives. It’s all about the coming-of-age process; I swear, the song “\u003ca href=\"https://www.youtube.com/watch?v=Yw7_Fgaf8PU\" target=\"_blank\" rel=\"noopener noreferrer\">Junior\u003c/a>” could be a theme song to a movie, playing over old footage from when he was younger.\u003c/p>\n\u003cp>The passing of time, the passing of the scenery. All in a day’s commute.\u003c/p>\n\u003cfigure id=\"attachment_13870425\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg\" alt=\"Michael Sneed\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1-799x1200.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gBr9EXrV-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young Michael Sneed graces the stage at the Life Is Living festival in Oakland, circa 2011. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was this one morning, a few weeks ago, when my dadmobile pushed past the Red Top Road exit on I-80, headed west. Beyond the cows and the spot where the motorcycle cop sometimes hides, and just before cresting the hillside that separates Fairfield from Vallejo. That’s when Rexx Life Raj’s song “\u003ca href=\"https://www.youtube.com/watch?v=E3976ZIbJc8\" target=\"_blank\" rel=\"noopener noreferrer\">The Fog\u003c/a>” came on.\u003c/p>\n\u003cp>No lie, at that exact moment, wisps of Bay Area fog began to accumulate in front of my car. A few seconds later, I was inside a full fog bank. I let out one of those laughs that deranged people do in the movies, pounding the steering wheel in excitement at the perfect timing of it all.\u003c/p>\n\u003cp>“Ayy, walk through the fog like bay weather / Still undefeated like Mayweather / I know I’m doin’ it right / The universe sendin’ me signs in bold letters,” Raj sang.\u003c/p>\n\u003cp>I feel him. I’m on my path too, and all the signs are there.\u003c/p>\n\u003cp>Even though I’m late for work in San Francisco, tired of driving 80mph on Interstate 80 in attempts to make it to and from Sacramento in under 80 minutes. Back pains from sitting. Pocket pains from spending. The last three months have been rough. But man, music.\u003c/p>\n\u003cp>What’s the old saying? When it hits, you feel no pain.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Stream Pendarvis Harshaw’s hand-curated playlist for long-distance commuting below. Not showing up for you? \u003ca href=\"https://open.spotify.com/playlist/3jqXw1a8N8wdApp1B6k7pA?si=rzszES1JSBaa9HKwIS4xDQ\">Click here.\u003c/a> \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/3jqXw1a8N8wdApp1B6k7pA\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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