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"content": "\u003cp>Just days after \u003ca href=\"https://www.instagram.com/officialkeakdasneak\" target=\"_blank\" rel=\"noopener\">Keak Da Sneak\u003c/a> was released from California state prison, he took the stage in Oakland in front of 40,000 cheering fans at the rap festival Rolling Loud, performing his Bay Area anthem “Super Hyphy” during headliner G-Eazy’s set.\u003c/p>\n\u003cp>“I don’t think no drug can amount to that feeling of being on stage and thousands of people wanting to see you and happy that you’re up there. It’s a feeling that I try to describe in words, but it’s just like—\u003cem>wow\u003c/em>,” says the rapper, whose real name is Charles Williams.\u003c/p>\n\u003cp>It marked a triumphant comeback from a \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">situation that seemed dire six months ago\u003c/a>, when Williams was sentenced to 16 months in state custody despite requiring ongoing medical care for various physical disabilities. After \u003ca href=\"https://www.kqed.org/arts/13854812/keak-da-sneak-begins-prison-sentence-after-lengthy-legal-battle\" target=\"_blank\" rel=\"noopener\">turning himself in\u003c/a> on April 11, he was released on probation on Sept. 24 thanks to \u003ca href=\"https://www.kqed.org/news/11081078/gov-brown-sees-prop-57-as-key-to-ending-court-prison-oversight\" target=\"_blank\" rel=\"noopener\">Prop 57\u003c/a>, a recent California law that allowed him to earn 66.6% credit on his sentence as a minimum security inmate.\u003c/p>\n\u003cp>https://www.instagram.com/p/B2zmtZrHtQs/\u003c/p>\n\u003cp>Williams’ two-year legal battle stemmed from a 2017 charge of firearm possession as a convicted felon. As he told KQED in January, he carried a gun for protection after surviving a shooting. A police officer in Amador County discovered the firearm after searching his car in a situation Williams described as “racial profiling at an all-time high.” During the course of the trial, he survived yet another shooting that left him in a wheelchair and in need of medical care and physical therapy multiple times a week. His sentencing was delayed multiple times to give him time to complete medical procedures.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a> broke the story of his sentencing, high-profile music publications like \u003cem>XXL\u003c/em>, HipHopDX and Okayplayer as well as various cable news channels across Northern California covered Williams’ plight. Williams credits the media attention and the \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> started by his wife, Dee Bowens—which amassed over 70,200 signatures—with pressuring state prison officials to send him to a state facility with quality medical care.\u003c/p>\n\u003cp>[pullquote align='right' citation='Keak Da Sneak']“God works in mysterious ways. I just know I was supposed to see that, and how fast your freedom can be taken from you, you know? It made me appreciate life and appreciate my freedom.”[/pullquote]\u003c/p>\n\u003cp>“Big shout out to y’all, I want to thank KQED,” he says. “I want to thank the people who signed my petition on Change.org. If it wasn’t for y’all, I don’t think it would have went as smooth for me, you know? I don’t know if they would have sent me where they sent me, because I made a big deal of the level of care I needed, so they made sure that was there for me.”\u003c/p>\n\u003cp>After turning himself in, Williams served his term at the California Health Care Facility (CHCF) in Stockton, which has round-the-clock medical care. Before he knew where he was headed, he feared the California Department of Corrections and Rehabilitation would send him to a facility that couldn’t meet his medical needs. Indeed, disability rights advocates say that quality of medical care and ADA accessibility varies greatly from facility to facility, even within the same state. The office of the California Inspector General rated medical care at CHCF “inadequate” in\u003ca href=\"https://www.oig.ca.gov/wp-content/uploads/2019/05/CHCF_Medical_Inspection_Report_Cycle_5.pdf\" target=\"_blank\" rel=\"noopener\"> an April 2019 report\u003c/a>.\u003c/p>\n\u003cp>“For the most part, man, it wasn’t as bad as I thought it was gonna be,” Williams says. “But for the other part—that jail shit ain’t where it’s at. There’s people in there that are never coming home, they don’t have a release date at all. So, God works in mysterious ways. I just know I was supposed to see that, and how fast your freedom can be taken from you, you know? It made me appreciate life and appreciate my freedom.” [aside postid='arts_13849409']\u003c/p>\n\u003cp>Still, Williams says that not all of his medical needs were met. For instance, after spending a month on a waiting list, he says he was only able to attend an hour of physical therapy once a week rather than several times a week—which slowed down his progress on relearning to stand up and eventually walk again.\u003c/p>\n\u003cp>“I don’t need someone to get me in and get me out of there,” he says. “I need someone to work with me on my therapy. In there, it was overcrowded with inmates.”\u003c/p>\n\u003cp>Nonetheless, Williams’ mood was optimistic during our interview. He’s now back home with his wife and kids, and his mom came over to treat him to a home cooked meal of oxtails, collard greens, macaroni and cheese and cornbread. “I ate three plates of it, too,” he says.\u003c/p>\n\u003cp>After hanging out with family and getting a pedicure, he hit the headlining stage at Rolling Loud on Sept. 28. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Williams’ two-year legal battle stemmed from a 2017 charge of firearm possession as a convicted felon. As he told KQED in January, he carried a gun for protection after surviving a shooting. A police officer in Amador County discovered the firearm after searching his car in a situation Williams described as “racial profiling at an all-time high.” During the course of the trial, he survived yet another shooting that left him in a wheelchair and in need of medical care and physical therapy multiple times a week. His sentencing was delayed multiple times to give him time to complete medical procedures.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a> broke the story of his sentencing, high-profile music publications like \u003cem>XXL\u003c/em>, HipHopDX and Okayplayer as well as various cable news channels across Northern California covered Williams’ plight. Williams credits the media attention and the \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> started by his wife, Dee Bowens—which amassed over 70,200 signatures—with pressuring state prison officials to send him to a state facility with quality medical care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“God works in mysterious ways. I just know I was supposed to see that, and how fast your freedom can be taken from you, you know? It made me appreciate life and appreciate my freedom.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Big shout out to y’all, I want to thank KQED,” he says. “I want to thank the people who signed my petition on Change.org. If it wasn’t for y’all, I don’t think it would have went as smooth for me, you know? I don’t know if they would have sent me where they sent me, because I made a big deal of the level of care I needed, so they made sure that was there for me.”\u003c/p>\n\u003cp>After turning himself in, Williams served his term at the California Health Care Facility (CHCF) in Stockton, which has round-the-clock medical care. Before he knew where he was headed, he feared the California Department of Corrections and Rehabilitation would send him to a facility that couldn’t meet his medical needs. Indeed, disability rights advocates say that quality of medical care and ADA accessibility varies greatly from facility to facility, even within the same state. The office of the California Inspector General rated medical care at CHCF “inadequate” in\u003ca href=\"https://www.oig.ca.gov/wp-content/uploads/2019/05/CHCF_Medical_Inspection_Report_Cycle_5.pdf\" target=\"_blank\" rel=\"noopener\"> an April 2019 report\u003c/a>.\u003c/p>\n\u003cp>“For the most part, man, it wasn’t as bad as I thought it was gonna be,” Williams says. “But for the other part—that jail shit ain’t where it’s at. There’s people in there that are never coming home, they don’t have a release date at all. So, God works in mysterious ways. I just know I was supposed to see that, and how fast your freedom can be taken from you, you know? It made me appreciate life and appreciate my freedom.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Williams says that not all of his medical needs were met. For instance, after spending a month on a waiting list, he says he was only able to attend an hour of physical therapy once a week rather than several times a week—which slowed down his progress on relearning to stand up and eventually walk again.\u003c/p>\n\u003cp>“I don’t need someone to get me in and get me out of there,” he says. “I need someone to work with me on my therapy. In there, it was overcrowded with inmates.”\u003c/p>\n\u003cp>Nonetheless, Williams’ mood was optimistic during our interview. He’s now back home with his wife and kids, and his mom came over to treat him to a home cooked meal of oxtails, collard greens, macaroni and cheese and cornbread. “I ate three plates of it, too,” he says.\u003c/p>\n\u003cp>After hanging out with family and getting a pedicure, he hit the headlining stage at Rolling Loud on Sept. 28. This week, he’s busy reestablishing his medical care routine with the help of his doctor, and is already back in the studio working on two new mixtapes and searching for new talent for his label, AllnFallnDoe.\u003c/p>\n\u003cp>“I’m still blessed with opportunities,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland Rockers Copyslut Soundtrack the Fight for Sex Workers’ Rights",
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"content": "\u003cp>In \u003ca href=\"http://www.copyslutband.com/\" target=\"_blank\" rel=\"noopener\">Copyslut\u003c/a>’s new music video for “Makers Mark,” a club becomes a ritualistic space of magic and transcendence.\u003c/p>\n\u003cp>Behind mirrored doors, dancers demonstrate superhuman abilities on the pole, and lap dances cast spells for collective liberation. With people of many gender expressions and body types enthusiastically participating in the bacchanal, performers and audience members become indistinguishable from one another. The revelry takes them to heights of spiritual ecstasy, like a church service might on a Sunday morning—except in this case, they’re leaving covered in glitter.\u003c/p>\n\u003cp>“We’re really about pleasure being healing, and the radical possibilities of how pleasure and letting go of shame can do some of this deep, internal self-love work,” says lead singer Chatz during a recent interview at \u003ca href=\"https://www.airshiplaboratories.com/\" target=\"_blank\" rel=\"noopener\">Airship Laboratories\u003c/a>, a Richmond recording studio where Copyslut laid down tracks for their debut album, due out in early 2020.\u003c/p>\n\u003cp>https://youtu.be/pKauvm0ePUU\u003c/p>\n\u003cp>“Makers Mark,” the latest single from the project, is a feminist reimagining of the legend of La Llorona, a character from Latin American folklore who drowns her children in a river after her husband leaves her. In Copyslut’s telling, La Llorona makes a complicated choice to protect her bloodline from energy-sucking vampires. An homage to guitarist Ray Zamora and art director Reiko Rasch’s Mexican heritage, the band’s hard-rocking anthem communes with La Llorona like a spirit guide for those “strong enough to walk that edge,” or thrive despite experiencing marginalization in society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Living boldly and authentically, and claiming one’s sexuality as a source of power, are two big themes in Copyslut’s music, which the band members describe as their way of healing personal trauma and advocating for their communities. Chatz, whose soaring voice recalls Ann Wilson of Heart and Corin Tucker of Sleater-Kinney, balances her life as a musician with sex work and activism. In Copyslut, those worlds frequently merge.\u003c/p>\n\u003cp>“I think it’s really cool how Chatz is bringing that sex work element into talking about really deep stuff,” says Zamora, describing the band’s vulnerable yet campy live shows, which combine elements of musical theater, sexuality and rock ’n’ roll. “It re-sensitizes everybody into their bodies and makes people more receptive to ideas, actually being able to take things in on a deep soul level.”\u003c/p>\n\u003cfigure id=\"attachment_13867390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg\" alt=\"Chatz (left) and Ray Zamora of Copyslut.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chatz (left) and Ray Zamora of Copyslut on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When and where Copyslut choose to play is often political. Last June, the band performed for sex workers and their allies at a rally at Oakland City Hall organized by \u003ca href=\"https://bayareaworkerssupport.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Worker Support\u003c/a> (BAWS), a group that advocates for sex workers’ health and safety. BAWS mobilized following the controversial \u003ca href=\"https://www.vice.com/en_us/article/qvxeyq/trump-signed-fosta-sesta-into-law-sex-work\" target=\"_blank\" rel=\"noopener\">FOSTA/SESTA\u003c/a> law of 2018, which—in an attempt to curb online child trafficking—shut down Backpage, Craigslist Personals and other websites where consenting, adult sex workers vetted clients, forcing some of them into much-more-dangerous outdoor work.\u003c/p>\n\u003cp>After speeches from former Oakland mayoral candidate Cat Brooks and activist \u003ca href=\"https://www.kqed.org/news/11106467/why-the-celeste-guap-scandal-isnt-only-about-her-case\" target=\"_blank\" rel=\"noopener\">Celeste Guap\u003c/a>, Copyslut took the stage and performed “Right By You.” It was a particularly emotional moment for Chatz, who describes the song as a letter to her teenage self, who once upon a time was coming to terms with her queerness and contemplating leaving the Mormon church.\u003c/p>\n\u003cp>https://youtu.be/jLRH-l_ZN3A\u003c/p>\n\u003cp>“I’m just seeing this sea of beautiful people in red and black and fishnets—and just the love—and singing songs I’ve written to heal my own internalized whorephobia,” says Chatz of playing at the rally. “I grew up very sheltered, and I experienced it as very brainwashed. So deconstructing some of that, and healing baby [me] … and singing it to people like, ‘Oh my god, you’re healing \u003cem>your\u003c/em> baby, your inner child.’ It was really, really magical.”\u003c/p>\n\u003cp>With all three band members identifying as queer or trans, a crucial part of Copyslut’s mission is illuminating the role sex workers have played in the LGBTQ liberation movement from the beginning. Martha P. Johnson, a prominent activist who emerged from the infamous Stonewall Uprising of 1969, for instance, supported her activism in the nascent gay rights movement through sex work.\u003c/p>\n\u003cp>“I’m transgender, so I feel like there’s a lot of intersectional issues with sex workers and the queer community and trans community,” says bassist Eli Maliwan, a jazz saxophone instructor by day.\u003c/p>\n\u003cfigure id=\"attachment_13867411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg\" alt='Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the \"Makers Mark\" music video. Maliwan strums his bass, smiling, while dancers cheer him on.' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During this year’s Pride Month, which coincided with the 50th anniversary of Stonewall, Copyslut curated and headlined a Noise Pop show called Sex Work is Gay, which raised over $3,000 for \u003ca href=\"https://www.homelessyouthalliance.org/\" target=\"_blank\" rel=\"noopener\">Homeless Youth Alliance\u003c/a>, Chatz says. One of the band’s more recent shows, last month at the historic Phoenix Theater in Petaluma, raised money for \u003ca href=\"https://stjamesinfirmary.org/wordpress/\" target=\"_blank\" rel=\"noopener\">St. James Infirmary\u003c/a>, an LGBTQ-inclusive healthcare nonprofit serving the sex worker community.\u003c/p>\n\u003cp>As sex work gains visibility in mainstream media thanks to the box office smash \u003cem>Hustlers\u003c/em> and Emmy-winning TV series \u003cem>Pose\u003c/em>, Copyslut is playing an important role in expanding the conversation. Chatz and author and educator Vanessa Carlisle co-edited the zine \u003ca href=\"http://www.copyslutband.com/store/p8/Don%27t_Hate_My_Heels_Zine.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Don’t Hate My Heels: A Confrontation with Whorephobia in Which the Whores Win \u003c/em>\u003c/a>(with illustrations by Rasch, who also does the band’s merch and album art). \u003cspan style=\"font-weight: 400\">With personal stories from sex workers navigating higher education, the music industry and political organizing, the zine was a finalist in the Broken Pencil Zine Awards, which celebrate independent publishing.\u003c/span>\u003c/p>\n\u003cp>Advocating for decriminalization of sex work rather than legalization, \u003cem>Don’t Hate My Heels\u003c/em> is a must-read for anyone curious about how sex workers’ fight for dignity and safety fits into other social movements, including anarchism, labor and gender equality.\u003c/p>\n\u003cp>Those struggles aren’t as separate as people think, the zine explains, and Copyslut’s multifaceted work is all about illuminating the intersections.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyslut performs with Wizard Apprentice, Louda and Blacker Face at Bottom of the Hill in San Francisco on Nov. 12. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10066\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"http://www.copyslutband.com/\" target=\"_blank\" rel=\"noopener\">Copyslut\u003c/a>’s new music video for “Makers Mark,” a club becomes a ritualistic space of magic and transcendence.\u003c/p>\n\u003cp>Behind mirrored doors, dancers demonstrate superhuman abilities on the pole, and lap dances cast spells for collective liberation. With people of many gender expressions and body types enthusiastically participating in the bacchanal, performers and audience members become indistinguishable from one another. The revelry takes them to heights of spiritual ecstasy, like a church service might on a Sunday morning—except in this case, they’re leaving covered in glitter.\u003c/p>\n\u003cp>“We’re really about pleasure being healing, and the radical possibilities of how pleasure and letting go of shame can do some of this deep, internal self-love work,” says lead singer Chatz during a recent interview at \u003ca href=\"https://www.airshiplaboratories.com/\" target=\"_blank\" rel=\"noopener\">Airship Laboratories\u003c/a>, a Richmond recording studio where Copyslut laid down tracks for their debut album, due out in early 2020.\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/pKauvm0ePUU'\n title='//www.youtube.com/embed/pKauvm0ePUU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Makers Mark,” the latest single from the project, is a feminist reimagining of the legend of La Llorona, a character from Latin American folklore who drowns her children in a river after her husband leaves her. In Copyslut’s telling, La Llorona makes a complicated choice to protect her bloodline from energy-sucking vampires. An homage to guitarist Ray Zamora and art director Reiko Rasch’s Mexican heritage, the band’s hard-rocking anthem communes with La Llorona like a spirit guide for those “strong enough to walk that edge,” or thrive despite experiencing marginalization in society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Living boldly and authentically, and claiming one’s sexuality as a source of power, are two big themes in Copyslut’s music, which the band members describe as their way of healing personal trauma and advocating for their communities. Chatz, whose soaring voice recalls Ann Wilson of Heart and Corin Tucker of Sleater-Kinney, balances her life as a musician with sex work and activism. In Copyslut, those worlds frequently merge.\u003c/p>\n\u003cp>“I think it’s really cool how Chatz is bringing that sex work element into talking about really deep stuff,” says Zamora, describing the band’s vulnerable yet campy live shows, which combine elements of musical theater, sexuality and rock ’n’ roll. “It re-sensitizes everybody into their bodies and makes people more receptive to ideas, actually being able to take things in on a deep soul level.”\u003c/p>\n\u003cfigure id=\"attachment_13867390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg\" alt=\"Chatz (left) and Ray Zamora of Copyslut.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chatz (left) and Ray Zamora of Copyslut on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When and where Copyslut choose to play is often political. Last June, the band performed for sex workers and their allies at a rally at Oakland City Hall organized by \u003ca href=\"https://bayareaworkerssupport.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Worker Support\u003c/a> (BAWS), a group that advocates for sex workers’ health and safety. BAWS mobilized following the controversial \u003ca href=\"https://www.vice.com/en_us/article/qvxeyq/trump-signed-fosta-sesta-into-law-sex-work\" target=\"_blank\" rel=\"noopener\">FOSTA/SESTA\u003c/a> law of 2018, which—in an attempt to curb online child trafficking—shut down Backpage, Craigslist Personals and other websites where consenting, adult sex workers vetted clients, forcing some of them into much-more-dangerous outdoor work.\u003c/p>\n\u003cp>After speeches from former Oakland mayoral candidate Cat Brooks and activist \u003ca href=\"https://www.kqed.org/news/11106467/why-the-celeste-guap-scandal-isnt-only-about-her-case\" target=\"_blank\" rel=\"noopener\">Celeste Guap\u003c/a>, Copyslut took the stage and performed “Right By You.” It was a particularly emotional moment for Chatz, who describes the song as a letter to her teenage self, who once upon a time was coming to terms with her queerness and contemplating leaving the Mormon church.\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/jLRH-l_ZN3A'\n title='//www.youtube.com/embed/jLRH-l_ZN3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m just seeing this sea of beautiful people in red and black and fishnets—and just the love—and singing songs I’ve written to heal my own internalized whorephobia,” says Chatz of playing at the rally. “I grew up very sheltered, and I experienced it as very brainwashed. So deconstructing some of that, and healing baby [me] … and singing it to people like, ‘Oh my god, you’re healing \u003cem>your\u003c/em> baby, your inner child.’ It was really, really magical.”\u003c/p>\n\u003cp>With all three band members identifying as queer or trans, a crucial part of Copyslut’s mission is illuminating the role sex workers have played in the LGBTQ liberation movement from the beginning. Martha P. Johnson, a prominent activist who emerged from the infamous Stonewall Uprising of 1969, for instance, supported her activism in the nascent gay rights movement through sex work.\u003c/p>\n\u003cp>“I’m transgender, so I feel like there’s a lot of intersectional issues with sex workers and the queer community and trans community,” says bassist Eli Maliwan, a jazz saxophone instructor by day.\u003c/p>\n\u003cfigure id=\"attachment_13867411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg\" alt='Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the \"Makers Mark\" music video. Maliwan strums his bass, smiling, while dancers cheer him on.' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During this year’s Pride Month, which coincided with the 50th anniversary of Stonewall, Copyslut curated and headlined a Noise Pop show called Sex Work is Gay, which raised over $3,000 for \u003ca href=\"https://www.homelessyouthalliance.org/\" target=\"_blank\" rel=\"noopener\">Homeless Youth Alliance\u003c/a>, Chatz says. One of the band’s more recent shows, last month at the historic Phoenix Theater in Petaluma, raised money for \u003ca href=\"https://stjamesinfirmary.org/wordpress/\" target=\"_blank\" rel=\"noopener\">St. James Infirmary\u003c/a>, an LGBTQ-inclusive healthcare nonprofit serving the sex worker community.\u003c/p>\n\u003cp>As sex work gains visibility in mainstream media thanks to the box office smash \u003cem>Hustlers\u003c/em> and Emmy-winning TV series \u003cem>Pose\u003c/em>, Copyslut is playing an important role in expanding the conversation. Chatz and author and educator Vanessa Carlisle co-edited the zine \u003ca href=\"http://www.copyslutband.com/store/p8/Don%27t_Hate_My_Heels_Zine.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Don’t Hate My Heels: A Confrontation with Whorephobia in Which the Whores Win \u003c/em>\u003c/a>(with illustrations by Rasch, who also does the band’s merch and album art). \u003cspan style=\"font-weight: 400\">With personal stories from sex workers navigating higher education, the music industry and political organizing, the zine was a finalist in the Broken Pencil Zine Awards, which celebrate independent publishing.\u003c/span>\u003c/p>\n\u003cp>Advocating for decriminalization of sex work rather than legalization, \u003cem>Don’t Hate My Heels\u003c/em> is a must-read for anyone curious about how sex workers’ fight for dignity and safety fits into other social movements, including anarchism, labor and gender equality.\u003c/p>\n\u003cp>Those struggles aren’t as separate as people think, the zine explains, and Copyslut’s multifaceted work is all about illuminating the intersections.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyslut performs with Wizard Apprentice, Louda and Blacker Face at Bottom of the Hill in San Francisco on Nov. 12. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10066\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>It grossed $255 million worldwide, won Jordan Peele the Best Original Screenplay Oscar (making him the first-ever black recipient of the award), garnered a mountain of critical acclaim and instantly made a mark on pop culture. Adding to the many reasons to appreciate \u003cem>Get Out, \u003c/em>the San Francisco Symphony will accompany a screening of the movie the night before Halloween.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DzfpyUB60YY\u003c/p>\n\u003cp>The chilling original music for the film was masterminded by \u003ca href=\"https://en.wikipedia.org/wiki/Michael_Abels\" target=\"_blank\" rel=\"noopener\">Michael Abels\u003c/a>, a composer based in Southern California who had never scored a movie before. For inspiration, Peele sent Abels some examples of music he found “terrifying,” including Latin chants, old blues and other soundtracks.\u003c/p>\n\u003cp>“The music had to have the emotional depth that the music in a Hitchcock film has,” \u003ca href=\"https://crackmagazine.net/article/long-reads/composer-michael-abels-produced-chilling-score-get/\" target=\"_blank\" rel=\"noopener\">Abels told \u003cem>Crack\u003c/em>\u003c/a> magazine in 2017. “I was really shooting for that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a kind of rhythmic pulse to the score which is unlike a normal suspense score—it’s a lot more modern,” Abels continued. “Whenever we needed a sound which was unfamiliar, we would look to strings or rattles—something based in the natural world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/film\" target=\"_blank\" rel=\"noopener\">Film Night\u003c/a> offers a stellar program—including \u003cem>Coco\u003c/em>, \u003cem>Ghostbusters\u003c/em>, \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Apollo 13\u003c/em> and \u003cem>Love Actually\u003c/em>—for the rest of the year. \u003cem>Get Out\u003c/em> is sure to be a highlight, bringing an acute creep factor to a movie already brimming with claustrophobic terror.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>It grossed $255 million worldwide, won Jordan Peele the Best Original Screenplay Oscar (making him the first-ever black recipient of the award), garnered a mountain of critical acclaim and instantly made a mark on pop culture. Adding to the many reasons to appreciate \u003cem>Get Out, \u003c/em>the San Francisco Symphony will accompany a screening of the movie the night before Halloween.\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/DzfpyUB60YY'\n title='//www.youtube.com/embed/DzfpyUB60YY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The chilling original music for the film was masterminded by \u003ca href=\"https://en.wikipedia.org/wiki/Michael_Abels\" target=\"_blank\" rel=\"noopener\">Michael Abels\u003c/a>, a composer based in Southern California who had never scored a movie before. For inspiration, Peele sent Abels some examples of music he found “terrifying,” including Latin chants, old blues and other soundtracks.\u003c/p>\n\u003cp>“The music had to have the emotional depth that the music in a Hitchcock film has,” \u003ca href=\"https://crackmagazine.net/article/long-reads/composer-michael-abels-produced-chilling-score-get/\" target=\"_blank\" rel=\"noopener\">Abels told \u003cem>Crack\u003c/em>\u003c/a> magazine in 2017. “I was really shooting for that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a kind of rhythmic pulse to the score which is unlike a normal suspense score—it’s a lot more modern,” Abels continued. “Whenever we needed a sound which was unfamiliar, we would look to strings or rattles—something based in the natural world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/film\" target=\"_blank\" rel=\"noopener\">Film Night\u003c/a> offers a stellar program—including \u003cem>Coco\u003c/em>, \u003cem>Ghostbusters\u003c/em>, \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Apollo 13\u003c/em> and \u003cem>Love Actually\u003c/em>—for the rest of the year. \u003cem>Get Out\u003c/em> is sure to be a highlight, bringing an acute creep factor to a movie already brimming with claustrophobic terror.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'I Will Survive' Saves Marginalized People a Spot on the Dance Floor",
"headTitle": "‘I Will Survive’ Saves Marginalized People a Spot on the Dance Floor | KQED",
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\" target=\"_blank\" rel=\"noopener\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>Gloria Gaynor has said she’s pretty sure her signature song, the 1978 disco smash “\u003ca href=\"https://www.youtube.com/watch?v=8f4mytaXttw\" target=\"_blank\" rel=\"noopener\">I Will Survive\u003c/a>,” was created just for her. But the singer had to go through a lot before she and the song found each other.\u003c/p>\n\u003cp>Her mother had died a couple years earlier, and Gaynor was still coping with that loss. Then her record label, Polydor, told her they were declining to renew her contract: She’d had a hit in 1975 with her cover of The Jackson 5’s “Never Can Say Goodbye,” but nothing huge since then, and they’d decided she was no longer a good investment. Gaynor soldiered on, but was slogging through a fog of grief and anxiety.\u003c/p>\n\u003cp>Shortly after Polydor told her she was being dropped, Gaynor slipped onstage during a performance at New York’s Beacon Theatre. She finished the performance, then went out to breakfast, and finally, home to bed. “I woke up the next morning paralyzed from the waist down,” she said in a \u003ca href=\"https://www.youtube.com/watch?v=7-Say4_E91w\" target=\"_blank\" rel=\"noopener\">2013 interview\u003c/a> with Audible, adding: “I’ve always believed that God allowed that to happen so he could get my attention.”\u003c/p>\n\u003cp>Attention secured, Gaynor focused on her recovery. She endured spinal surgery and a three-month hospital stay. When she was released, she left the hospital in an unwieldy back brace that she wore for many more months.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, after a few rough years, her luck began to turn. Polydor changed presidents, and the new guy was a fan. In fact, he was pretty sure he had a comeback hit for Gaynor: a song that a South African girl group had recently done well with, called “\u003ca href=\"https://www.youtube.com/watch?v=0sUhUO9Nny0\" target=\"_blank\" rel=\"noopener\">Substitute\u003c/a>.”\u003c/p>\n\u003cp>As it turned out, Polydor’s new president was unique in his enthusiasm for the record. In his eagerness to get it out, he cut a deal: Producer-songwriters Freddie Perren and Dino Fekaris agreed to record “Substitute” if they could put one of their own songs on the B-side of the single. They invited Gaynor in for a meeting to hear what kinds of lyrics felt most comfortable with performing. In the interview with Audible, she described what happened next.\u003c/p>\n\u003cp>“They said, ‘We think you’re the one that we’ve been waiting for to record this song that we wrote a couple of years ago,’ ” Gaynor explained. “When I read the lyrics, I realized the reason they’d been waiting for me to record that song was that God had given that song to them for them to set aside, waiting for him to get everything in order for me to meet up with them. And that song was ‘I Will Survive.'”\u003c/p>\n\u003cp>https://youtu.be/8f4mytaXttw\u003c/p>\n\u003cp>Drummer James Gadson, who in his career has backed up Marvin Gaye and Bill Withers and been featured on hundreds of hit records, was part of the studio band put together for the session. He tells NPR they spent hours laying down tracks for “Substitute,” and were about ready to wrap things up when Freddie Perren asked them to stay a little longer and do one more song.\u003c/p>\n\u003cp>“He said, ‘Well, man, I know everybody’s tired, but let’s just do this one song. In fact, I’ll do the intro.’ He was a great producer, played keyboards,” Gadson says, describing the arpeggio Perren played that became the song’s unmistakable opening sting.\u003c/p>\n\u003cp>“We just cut it and that was it, went home,” he says. “Three weeks later: \u003cem>bam\u003c/em>.”\u003c/p>\n\u003cp>Gaynor took advance copies of the single to Studio 54, the mecca of US discotheques — she’d often sung there, and knew the DJ. “He played it while we were standing there,” she said \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/07/17/742634817/gloria-gaynor-disco-queen-goes-gospel\" target=\"_blank\" rel=\"noopener\">in an interview\u003c/a> with \u003cem>World Cafe\u003c/em> on NPR member station WXPN. “The audience immediately loved it, which told me this is a hit song. New Yorkers don’t immediately love \u003cem>anything\u003c/em> — they are so jaded.” The DJ liked it too — enough that he agreed to take copies and pass them along to other DJs.\u003c/p>\n\u003cp>Released in October 1978, “I Will Survive” was a near-instant hit, eclipsing the planned comeback song on the other side of the record. Within weeks it was playing everywhere, including Europe, where Gaynor was a longtime favorite. The song also coincided with the very beginning of the AIDS crisis, and found a particular resonance within the LGBT community.\u003c/p>\n\u003cp>Karen Tongson, a professor at the University of Southern California who often lectures on pop culture, says she remembers first hearing the song in the 1990s through its cover versions, then learning the history behind Gaynor’s original.\u003c/p>\n\u003cp>“It was especially significant for me, because I’d just come out,” she recalls. “The song had long associations with the LGBT community as an anthem … but in my newfound activism, in my new awareness around the different struggles the community faced — particularly around the AIDS crisis — I heard the song with new ears.” [aside postid='arts_13854644']\u003c/p>\n\u003cp>She wasn’t the only one. Beyond gay communities, “I Will Survive” has become a global anthem for those who have felt politically oppressed, physically challenged or otherwise pushed to society’s margins.\u003c/p>\n\u003cp>That includes survivors of domestic abuse, for whom Gloria Gaynor herself has become a spokesperson. Cindy Southworth heads the National Network to End Domestic Violence, where Gaynor is an advocate; she remembers when the singer appeared at the organization’s global conference in 2012.\u003c/p>\n\u003cp>“She sang her song,” Southworth says, “and singing along with her were 1,500 advocates from across the globe — many of them survivors themselves, singing in beautiful accents.”\u003c/p>\n\u003cp>Today, it’s hard to go through life without hearing some version of “I Will Survive.” Its operatic sweep makes it perfect for divas; Diana Ross, Aretha Franklin and Miss Piggy have all had a go. But it’s also been covered by Johnny Mathis and Cake, performed by marching bands and symphony orchestras.\u003c/p>\n\u003cp>Karen Tongson says it’s the progression of the lyrics from despair to empowerment that make “I Will Survive” a deeply personal song for a lot of people: “That chorus is like coming out of the dark and into the light.” Set to a driving beat, its message is one that anyone who hears it can claim as their own. It is an anthem for people who have survived whatever life has thrown at them.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Gloria Gaynor interview audio provided courtesy of Audible and WXPN’s World Café.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\" target=\"_blank\" rel=\"noopener\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>Gloria Gaynor has said she’s pretty sure her signature song, the 1978 disco smash “\u003ca href=\"https://www.youtube.com/watch?v=8f4mytaXttw\" target=\"_blank\" rel=\"noopener\">I Will Survive\u003c/a>,” was created just for her. But the singer had to go through a lot before she and the song found each other.\u003c/p>\n\u003cp>Her mother had died a couple years earlier, and Gaynor was still coping with that loss. Then her record label, Polydor, told her they were declining to renew her contract: She’d had a hit in 1975 with her cover of The Jackson 5’s “Never Can Say Goodbye,” but nothing huge since then, and they’d decided she was no longer a good investment. Gaynor soldiered on, but was slogging through a fog of grief and anxiety.\u003c/p>\n\u003cp>Shortly after Polydor told her she was being dropped, Gaynor slipped onstage during a performance at New York’s Beacon Theatre. She finished the performance, then went out to breakfast, and finally, home to bed. “I woke up the next morning paralyzed from the waist down,” she said in a \u003ca href=\"https://www.youtube.com/watch?v=7-Say4_E91w\" target=\"_blank\" rel=\"noopener\">2013 interview\u003c/a> with Audible, adding: “I’ve always believed that God allowed that to happen so he could get my attention.”\u003c/p>\n\u003cp>Attention secured, Gaynor focused on her recovery. She endured spinal surgery and a three-month hospital stay. When she was released, she left the hospital in an unwieldy back brace that she wore for many more months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, after a few rough years, her luck began to turn. Polydor changed presidents, and the new guy was a fan. In fact, he was pretty sure he had a comeback hit for Gaynor: a song that a South African girl group had recently done well with, called “\u003ca href=\"https://www.youtube.com/watch?v=0sUhUO9Nny0\" target=\"_blank\" rel=\"noopener\">Substitute\u003c/a>.”\u003c/p>\n\u003cp>As it turned out, Polydor’s new president was unique in his enthusiasm for the record. In his eagerness to get it out, he cut a deal: Producer-songwriters Freddie Perren and Dino Fekaris agreed to record “Substitute” if they could put one of their own songs on the B-side of the single. They invited Gaynor in for a meeting to hear what kinds of lyrics felt most comfortable with performing. In the interview with Audible, she described what happened next.\u003c/p>\n\u003cp>“They said, ‘We think you’re the one that we’ve been waiting for to record this song that we wrote a couple of years ago,’ ” Gaynor explained. “When I read the lyrics, I realized the reason they’d been waiting for me to record that song was that God had given that song to them for them to set aside, waiting for him to get everything in order for me to meet up with them. And that song was ‘I Will Survive.'”\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/8f4mytaXttw'\n title='//www.youtube.com/embed/8f4mytaXttw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Drummer James Gadson, who in his career has backed up Marvin Gaye and Bill Withers and been featured on hundreds of hit records, was part of the studio band put together for the session. He tells NPR they spent hours laying down tracks for “Substitute,” and were about ready to wrap things up when Freddie Perren asked them to stay a little longer and do one more song.\u003c/p>\n\u003cp>“He said, ‘Well, man, I know everybody’s tired, but let’s just do this one song. In fact, I’ll do the intro.’ He was a great producer, played keyboards,” Gadson says, describing the arpeggio Perren played that became the song’s unmistakable opening sting.\u003c/p>\n\u003cp>“We just cut it and that was it, went home,” he says. “Three weeks later: \u003cem>bam\u003c/em>.”\u003c/p>\n\u003cp>Gaynor took advance copies of the single to Studio 54, the mecca of US discotheques — she’d often sung there, and knew the DJ. “He played it while we were standing there,” she said \u003ca href=\"https://www.npr.org/sections/world-cafe/2019/07/17/742634817/gloria-gaynor-disco-queen-goes-gospel\" target=\"_blank\" rel=\"noopener\">in an interview\u003c/a> with \u003cem>World Cafe\u003c/em> on NPR member station WXPN. “The audience immediately loved it, which told me this is a hit song. New Yorkers don’t immediately love \u003cem>anything\u003c/em> — they are so jaded.” The DJ liked it too — enough that he agreed to take copies and pass them along to other DJs.\u003c/p>\n\u003cp>Released in October 1978, “I Will Survive” was a near-instant hit, eclipsing the planned comeback song on the other side of the record. Within weeks it was playing everywhere, including Europe, where Gaynor was a longtime favorite. The song also coincided with the very beginning of the AIDS crisis, and found a particular resonance within the LGBT community.\u003c/p>\n\u003cp>Karen Tongson, a professor at the University of Southern California who often lectures on pop culture, says she remembers first hearing the song in the 1990s through its cover versions, then learning the history behind Gaynor’s original.\u003c/p>\n\u003cp>“It was especially significant for me, because I’d just come out,” she recalls. “The song had long associations with the LGBT community as an anthem … but in my newfound activism, in my new awareness around the different struggles the community faced — particularly around the AIDS crisis — I heard the song with new ears.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She wasn’t the only one. Beyond gay communities, “I Will Survive” has become a global anthem for those who have felt politically oppressed, physically challenged or otherwise pushed to society’s margins.\u003c/p>\n\u003cp>That includes survivors of domestic abuse, for whom Gloria Gaynor herself has become a spokesperson. Cindy Southworth heads the National Network to End Domestic Violence, where Gaynor is an advocate; she remembers when the singer appeared at the organization’s global conference in 2012.\u003c/p>\n\u003cp>“She sang her song,” Southworth says, “and singing along with her were 1,500 advocates from across the globe — many of them survivors themselves, singing in beautiful accents.”\u003c/p>\n\u003cp>Today, it’s hard to go through life without hearing some version of “I Will Survive.” Its operatic sweep makes it perfect for divas; Diana Ross, Aretha Franklin and Miss Piggy have all had a go. But it’s also been covered by Johnny Mathis and Cake, performed by marching bands and symphony orchestras.\u003c/p>\n\u003cp>Karen Tongson says it’s the progression of the lyrics from despair to empowerment that make “I Will Survive” a deeply personal song for a lot of people: “That chorus is like coming out of the dark and into the light.” Set to a driving beat, its message is one that anyone who hears it can claim as their own. It is an anthem for people who have survived whatever life has thrown at them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "10 Acts Not to Miss at Hardly Strictly 2019",
"headTitle": "10 Acts Not to Miss at Hardly Strictly 2019 | KQED",
"content": "\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"_blank\" rel=\"noopener\">Hardly Strictly\u003c/a> returns to San Francisco’s Golden Gate Park this year on Oct. 4–6, packed with country, bluegrass, folk, world music and more. With sounds from the Bay Area, New Orleans, Mexico, Ukraine and many places in between, the diverse lineup’s connecting thread is stellar musicianship that’s best experienced live.\u003c/p>\n\u003cp>Now in its 19th year, Hardly Strictly is free to attend as always. A few things are different at this year’s festival, though: festival organizers recently announced \u003ca href=\"http://hardlystrictlybluegrass.com/2019/info/\" target=\"_blank\" rel=\"noopener\">new safety precautions\u003c/a>, as festivals around the country \u003ca href=\"https://www.kqed.org/arts/13863343/music-festival-safety-mass-shootings\" target=\"_blank\" rel=\"noopener\">ramp up security measures\u003c/a> in the wake of numerous mass shootings. Those new rules include \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/wp-content/themes/hsb/HSB19_map_entrances.pdf\" target=\"_blank\" rel=\"noopener\">four official entrances and exits\u003c/a>—unlike the fully open, come-as-you-please atmosphere of past years—as well as a ban on coolers and a new policy that all bags must be transparent.\u003c/p>\n\u003cp>Aside from the big stars like Led Zeppelin’s Robert Plant, Summer-of-Love jam band Hot Tuna Electric and rising country star Margo Price, here are 10 artists you should put on your Hardly Strictly itinerary.\u003c/p>\n\u003cp>https://youtu.be/qfIGYRKK8GQ\u003c/p>\n\u003cp>\u003cstrong>Tanya Tucker\u003c/strong>\u003cbr>\n\u003cem>Banjo Stage\u003cbr>\nOct. 4, 4:15pm\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Known as the first lady of outlaw country, Tanya Tucker has had a wild journey in the music industry. A teen idol in the ’70s, she broke hearts (and climbed charts) with hits like “Would You Lay With Me (In a Field of Stone).” After overcoming many personal struggles that often come with childhood fame, she made a comeback in the ’90s, and again this year with her new album, \u003cem>While I’m Livin’\u003c/em>, where she reclaims her story and celebrates her resilience.\u003c/p>\n\u003cp>https://youtu.be/DDu4jk2_R_k\u003c/p>\n\u003cp>\u003cstrong>Bedouine\u003c/strong>\u003cbr>\n\u003cem>Bandwagon Stage\u003cbr>\nOct. 4, 5:10pm\u003c/em>\u003c/p>\n\u003cp>Delicately strumming her acoustic guitar, Bedouine sings lyrics that contain quiet, profound meditations on solitude, love, war and migration. Born to Armenian parents in Syria, Bedouine lived in Saudi Arabia for a time before she and her family immigrated to Los Angeles. By day a music editor for film (her credits include Kumail Nanjiani’s \u003cem>The Big Sick\u003c/em>), her folk songs are minimal in composition but mighty in emotional weight.\u003c/p>\n\u003cp>https://youtu.be/2OQf5YajK4s\u003c/p>\n\u003cp>\u003cstrong>Whiskerman\u003c/strong>\u003cbr>\n\u003cem>Porch Stage\u003cbr>\nOct. 5, 11am\u003c/em>\u003c/p>\n\u003cp>Oakland quintet Whiskerman brings the dance party early to Hardly Strictly on Saturday with a high-energy roots rock set with notes of soul, psychedelic and folk. With fuzzed-out guitar solos, a powered-up rhythm section and Graham Patzner’s freewheeling vocals, Whiskerman’s music has a ’70s revivalist appeal.\u003c/p>\n\u003cp>https://youtu.be/0yCkoLm3AKo\u003c/p>\n\u003cp>\u003cstrong>Adia Victoria\u003c/strong>\u003cbr>\n\u003cem>Porch Stage\u003cbr>\nOct. 5, 1:20pm\u003c/em>\u003cbr>\nNashville singer-songwriter Adia Victoria’s blues-inflected indie pop is dark and high-drama. She recently worked with producer and guitarist Aaron Dressner of The National on her album \u003cem>Silences\u003c/em>, where her soft voice elastically bends from a near-whisper to a growl as she sings about heartbreak, facing her demons and finding herself.\u003c/p>\n\u003cp>https://youtu.be/Qa1fqiaIXIU\u003c/p>\n\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003cbr>\n\u003cem>Towers of Gold Stage\u003cbr>\nOct. 5, 2:10pm\u003c/em>\u003c/p>\n\u003cp>Tank and the Bangas’ playful music is a good reminder that a childlike sense of joy and wonder can reinvigorate anyone in the oft-depressing adult world. Hailing from New Orleans, the R&B, neo-soul and hip-hop ensemble fuses out-there, jazzy instrumentation with Tarriona Ball’s whimsical vocal style. Unafraid to get silly, she makes poetry out of the most mundane topics, turning them upside down and examining them completely anew.\u003c/p>\n\u003cp>https://youtu.be/lGm6LZciHF8\u003c/p>\n\u003cp>\u003cstrong>Yola\u003c/strong>\u003cbr>\n\u003cem>Rooster Stage\u003c/em>\u003cbr>\n\u003cem>Oct. 5, 3:25pm\u003c/em>\u003c/p>\n\u003cp>Yola’s booming, soulful voice pairs gorgeously with sepia-toned, vintage country instrumentation, and the singer’s ruminations about love and loss have a way of sweeping listeners away into a sentimental reverie. Originally form the U.K., Yola worked with the Black Keys’ Dan Auerbach on her most recent album, \u003cem>Walk Through Fire\u003c/em>, and has a growing rep in Nashville as the “queen of country soul.”\u003c/p>\n\u003cp>https://youtu.be/MgXzKx0c0h8\u003c/p>\n\u003cp>\u003cstrong>Ismay\u003c/strong>\u003cbr>\n\u003cem>Bandwagon Stage\u003cbr>\nOct. 5, 3:10pm\u003c/em>\u003c/p>\n\u003cp>Folk singer-songwriter Ismay’s bravery and curiosity about nature and environmental justice reverberate throughout her finger-picked tracks. At Hardly Strictly, she performs a storytelling-driven showcase called \u003cem>Songs and Stories from Sonoma Mountain\u003c/em>, inspired by her seven years living and working on her family’s ranch. This is the latest suite of songs following her \u003cem>Songs of the Klamath\u003c/em> project, inspired by a month-long journey on horseback along the Klamath River.\u003c/p>\n\u003cp>https://youtu.be/AObDpJ6xQMk\u003c/p>\n\u003cp>\u003cstrong>DakhaBrakha\u003c/strong>\u003cbr>\n\u003cem>Porch Stage\u003cbr>\nOct. 6, 1:20pm\u003c/em>\u003c/p>\n\u003cp>Influenced by Ukrainian folk music tradition and surrealism in equal measure, DakhaBrakha sprung from an experimental theater troupe in Kyiv in 2004. Combining instruments like the \u003cem>garmoshka\u003c/em> (accordion) and jaw harp with strings, percussion and experimental vocals in Ukrainian, they’ve won an audience stateside with their highly experimental approach.\u003c/p>\n\u003cp>https://youtu.be/djWziMwFVWw\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito\u003c/strong>\u003cbr>\n\u003cem>Swan Stage\u003cbr>\nOct. 6, 1:20\u003c/em>\u003c/p>\n\u003cp>Fantastic Negrito started out busking on Oakland’s streets and went on to win two Grammy Awards for Contemporary Blues Album in 2017 and ’19. His high-energy roots music oozes with gritty guitar solos, bluesy organ and soul- and gospel-tinged backing vocals. The infectious rhythms inspire his audience to dance, and also offer poignant commentary on issues like gentrification and cultural erasure.\u003c/p>\n\u003cp>https://youtu.be/TYa2_U6qrwY\u003c/p>\n\u003cp>\u003cstrong>Flor de Toloache\u003c/strong>\u003cbr>\n\u003cem>Bandwagon Stage\u003cbr>\nOct. 6, 3:10pm\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mariachi music has long been a vibrant part of cultural life in Mexican-American immigrant enclaves, and it’s slowly making its way into mainstream pop culture with artists like YG and Cuco collaborating with mariachi ensembles in recent years. The bilingual all-woman group Flor de Toloache bridges pop and mariachi sounds, and has a growing following for their lively stage shows and collaborations with pop stars like Miguel and John Legend.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"_blank\" rel=\"noopener\">Hardly Strictly\u003c/a> returns to San Francisco’s Golden Gate Park this year on Oct. 4–6, packed with country, bluegrass, folk, world music and more. With sounds from the Bay Area, New Orleans, Mexico, Ukraine and many places in between, the diverse lineup’s connecting thread is stellar musicianship that’s best experienced live.\u003c/p>\n\u003cp>Now in its 19th year, Hardly Strictly is free to attend as always. A few things are different at this year’s festival, though: festival organizers recently announced \u003ca href=\"http://hardlystrictlybluegrass.com/2019/info/\" target=\"_blank\" rel=\"noopener\">new safety precautions\u003c/a>, as festivals around the country \u003ca href=\"https://www.kqed.org/arts/13863343/music-festival-safety-mass-shootings\" target=\"_blank\" rel=\"noopener\">ramp up security measures\u003c/a> in the wake of numerous mass shootings. Those new rules include \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/wp-content/themes/hsb/HSB19_map_entrances.pdf\" target=\"_blank\" rel=\"noopener\">four official entrances and exits\u003c/a>—unlike the fully open, come-as-you-please atmosphere of past years—as well as a ban on coolers and a new policy that all bags must be transparent.\u003c/p>\n\u003cp>Aside from the big stars like Led Zeppelin’s Robert Plant, Summer-of-Love jam band Hot Tuna Electric and rising country star Margo Price, here are 10 artists you should put on your Hardly Strictly itinerary.\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/qfIGYRKK8GQ'\n title='//www.youtube.com/embed/qfIGYRKK8GQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Tanya Tucker\u003c/strong>\u003cbr>\n\u003cem>Banjo Stage\u003cbr>\nOct. 4, 4:15pm\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Known as the first lady of outlaw country, Tanya Tucker has had a wild journey in the music industry. A teen idol in the ’70s, she broke hearts (and climbed charts) with hits like “Would You Lay With Me (In a Field of Stone).” After overcoming many personal struggles that often come with childhood fame, she made a comeback in the ’90s, and again this year with her new album, \u003cem>While I’m Livin’\u003c/em>, where she reclaims her story and celebrates her resilience.\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/DDu4jk2_R_k'\n title='//www.youtube.com/embed/DDu4jk2_R_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Bedouine\u003c/strong>\u003cbr>\n\u003cem>Bandwagon Stage\u003cbr>\nOct. 4, 5:10pm\u003c/em>\u003c/p>\n\u003cp>Delicately strumming her acoustic guitar, Bedouine sings lyrics that contain quiet, profound meditations on solitude, love, war and migration. Born to Armenian parents in Syria, Bedouine lived in Saudi Arabia for a time before she and her family immigrated to Los Angeles. By day a music editor for film (her credits include Kumail Nanjiani’s \u003cem>The Big Sick\u003c/em>), her folk songs are minimal in composition but mighty in emotional weight.\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/2OQf5YajK4s'\n title='//www.youtube.com/embed/2OQf5YajK4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Whiskerman\u003c/strong>\u003cbr>\n\u003cem>Porch Stage\u003cbr>\nOct. 5, 11am\u003c/em>\u003c/p>\n\u003cp>Oakland quintet Whiskerman brings the dance party early to Hardly Strictly on Saturday with a high-energy roots rock set with notes of soul, psychedelic and folk. With fuzzed-out guitar solos, a powered-up rhythm section and Graham Patzner’s freewheeling vocals, Whiskerman’s music has a ’70s revivalist appeal.\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/0yCkoLm3AKo'\n title='//www.youtube.com/embed/0yCkoLm3AKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Adia Victoria\u003c/strong>\u003cbr>\n\u003cem>Porch Stage\u003cbr>\nOct. 5, 1:20pm\u003c/em>\u003cbr>\nNashville singer-songwriter Adia Victoria’s blues-inflected indie pop is dark and high-drama. She recently worked with producer and guitarist Aaron Dressner of The National on her album \u003cem>Silences\u003c/em>, where her soft voice elastically bends from a near-whisper to a growl as she sings about heartbreak, facing her demons and finding herself.\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/Qa1fqiaIXIU'\n title='//www.youtube.com/embed/Qa1fqiaIXIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003cbr>\n\u003cem>Towers of Gold Stage\u003cbr>\nOct. 5, 2:10pm\u003c/em>\u003c/p>\n\u003cp>Tank and the Bangas’ playful music is a good reminder that a childlike sense of joy and wonder can reinvigorate anyone in the oft-depressing adult world. Hailing from New Orleans, the R&B, neo-soul and hip-hop ensemble fuses out-there, jazzy instrumentation with Tarriona Ball’s whimsical vocal style. Unafraid to get silly, she makes poetry out of the most mundane topics, turning them upside down and examining them completely anew.\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/lGm6LZciHF8'\n title='//www.youtube.com/embed/lGm6LZciHF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Yola\u003c/strong>\u003cbr>\n\u003cem>Rooster Stage\u003c/em>\u003cbr>\n\u003cem>Oct. 5, 3:25pm\u003c/em>\u003c/p>\n\u003cp>Yola’s booming, soulful voice pairs gorgeously with sepia-toned, vintage country instrumentation, and the singer’s ruminations about love and loss have a way of sweeping listeners away into a sentimental reverie. Originally form the U.K., Yola worked with the Black Keys’ Dan Auerbach on her most recent album, \u003cem>Walk Through Fire\u003c/em>, and has a growing rep in Nashville as the “queen of country soul.”\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/MgXzKx0c0h8'\n title='//www.youtube.com/embed/MgXzKx0c0h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Ismay\u003c/strong>\u003cbr>\n\u003cem>Bandwagon Stage\u003cbr>\nOct. 5, 3:10pm\u003c/em>\u003c/p>\n\u003cp>Folk singer-songwriter Ismay’s bravery and curiosity about nature and environmental justice reverberate throughout her finger-picked tracks. At Hardly Strictly, she performs a storytelling-driven showcase called \u003cem>Songs and Stories from Sonoma Mountain\u003c/em>, inspired by her seven years living and working on her family’s ranch. This is the latest suite of songs following her \u003cem>Songs of the Klamath\u003c/em> project, inspired by a month-long journey on horseback along the Klamath River.\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/AObDpJ6xQMk'\n title='//www.youtube.com/embed/AObDpJ6xQMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>DakhaBrakha\u003c/strong>\u003cbr>\n\u003cem>Porch Stage\u003cbr>\nOct. 6, 1:20pm\u003c/em>\u003c/p>\n\u003cp>Influenced by Ukrainian folk music tradition and surrealism in equal measure, DakhaBrakha sprung from an experimental theater troupe in Kyiv in 2004. Combining instruments like the \u003cem>garmoshka\u003c/em> (accordion) and jaw harp with strings, percussion and experimental vocals in Ukrainian, they’ve won an audience stateside with their highly experimental approach.\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/djWziMwFVWw'\n title='//www.youtube.com/embed/djWziMwFVWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Fantastic Negrito\u003c/strong>\u003cbr>\n\u003cem>Swan Stage\u003cbr>\nOct. 6, 1:20\u003c/em>\u003c/p>\n\u003cp>Fantastic Negrito started out busking on Oakland’s streets and went on to win two Grammy Awards for Contemporary Blues Album in 2017 and ’19. His high-energy roots music oozes with gritty guitar solos, bluesy organ and soul- and gospel-tinged backing vocals. The infectious rhythms inspire his audience to dance, and also offer poignant commentary on issues like gentrification and cultural erasure.\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/TYa2_U6qrwY'\n title='//www.youtube.com/embed/TYa2_U6qrwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Flor de Toloache\u003c/strong>\u003cbr>\n\u003cem>Bandwagon Stage\u003cbr>\nOct. 6, 3:10pm\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mariachi music has long been a vibrant part of cultural life in Mexican-American immigrant enclaves, and it’s slowly making its way into mainstream pop culture with artists like YG and Cuco collaborating with mariachi ensembles in recent years. The bilingual all-woman group Flor de Toloache bridges pop and mariachi sounds, and has a growing following for their lively stage shows and collaborations with pop stars like Miguel and John Legend.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Event Picks for Sept. 26–Oct. 2",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on Twitter at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Patti+Smith+Weaves+Between+Worlds+Real+And+Imagined+In+%27Year+Of+The+Monkey%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patti Smith’s \u003cem>Year of the Monkey\u003c/em> is a beautiful, elegant, and poetic memoir that takes a single year in the artist’s life, 2016, and delves deep into the events that shaped it—and the feelings and memories they produced.\u003c/p>\n\u003cp>Effortlessly weaving together fiction and nonfiction, Smith takes readers on two unique journeys: one that can be traced on a map and one, infinitely richer and more complex, that takes place inside her head and heart. The result is a hybrid narrative that’s part travel journal, part reflexive essay on our times, and part meditation on existence at the edge of a new decade of life.\u003c/p>\n\u003cp>After a series of New Year’s concerts at the Fillmore, one of San Francisco’s most renowned music venues, musician, writer and photographer Patti Smith decides to spend a year traveling by herself, contemplating life, and connecting with old friends. The journey takes her from a strange hotel in California that talks to her to a long, dreamlike walk in the Arizona desert—and from a farm in Kentucky to the side of the hospital bed of a beloved mentor and friend who unceremoniously collapsed in a parking lot. Along the way, memories abound, strange events happen, and Smith ponders everything around and inside her as she approaches her 70th birthday. The process is a deep conversation with art, politics, a variety of places and books, and some of the people who have influenced her.\u003c/p>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> walks a fine line between fiction and nonfiction. She is aware of the difference between what happens outside her head and what only goes on inside it, but she happily walks that fine line and allows her writing to obliterate the dividing line. The places and people Smith writes about are real, but the way her mind filters and shapes the events give the narrative a touch of surrealism that sometimes seems to approach dream logic:\u003c/p>\n\u003cblockquote>\u003cp>“In the Dream Motel, I was certain I did not dream, yet the more I thought about it, I realized I did dream. More precisely, I skated along the fringe of dream. First it was morning, then night, then dawn, and the rays of the sun warmed everything. I left all thoughts of the world behind and followed my dream to the sea. The seals were sleeping, save the king, more like a walrus, who lifted his head and bellowed at the sun. There was a sense that everyone was gone, a J.G. Ballard kind of gone.”\u003c/p>\u003c/blockquote>\n\u003cp>In this memoir, the reality of the western landscape melds with Smith’s internal landscape. The emerging place is both real and imagined, immediate and accessible only through memories, welcoming and awful. Despite the amount of time readers spend in Smith’s head, the real world is always present. Places, airplanes, people, food, businesses and politics all anchor the narrative in immediate reality. Smith’s own Polaroids serve as proof of every trip and encounter. These constant reality intrusions range in tone from nostalgic and fun to scary and depressing. For example, she writes about the way the political landscape made her feel:\u003c/p>\n\u003cblockquote>\u003cp>“No matter which way I stepped or whatever plane I was on, it was still the Year of the Monkey. I was still moving within an atmosphere of artificial brightness with corrosive edges, the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867091\" class=\"wp-caption alignright\" style=\"max-width: 346px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867091\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg\" alt=\"'The Year of the Monkey' by Patti Smith.\" width=\"346\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_.jpg 346w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51pCQGlRnlL._SX344_BO1204203200_-160x231.jpg 160w\" sizes=\"(max-width: 346px) 100vw, 346px\">\u003cfigcaption class=\"wp-caption-text\">‘The Year of the Monkey’ by Patti Smith. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>The Year of the Monkey\u003c/em> is wildly entertaining and, at times, touching, the beauty of it comes from Smith’s writing. Her musical career sometimes threatens to overshadow her accomplishments in other creative fields, but every page in this book is packed with enough outstanding prose to constantly remind readers that Smith is an accomplished novelist, essayist, and poet who won the National Book Award in 2010. In her capable hands, a simple look at New York City in winter becomes a flash of beautiful poetry:\u003c/p>\n\u003cblockquote>\u003cp>“Valentine’s Day was the coldest on record in New York City’s history. A complex mantle of frost covered everything, bare branches strung with a symphony of frozen hearts. Pendants of ice, lethal enough to wound, cracked and plummeted from the edges of the overhangs and scaffolding onto the sidewalks, left to lie like discarded weapons of a primitive age.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>The Year of the Monkey\u003c/em> is a beautifully realized and unique memoir that chronicles a transformative year in the life of one of our most multi-talented creative voices. Smith’s approach to nonfiction is unique and brave: It counts as true if it happened, if she imagined it, and if she felt it. This is a book about Smith and the world all around—and that world includes all of us. And that is just one more reason why everyone should read it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Not Ur Baby was founded by Antioch native \u003ca href=\"https://www.instagram.com/vavimami/\" target=\"_blank\" rel=\"noopener\">Vanessa “Vavi” Vigil\u003c/a> in 2015 to address the lack of spaces for women of color in the Bay. “I was getting into the art scene in the Bay Area, and had to deal with a lot of male ego from venues and curators, and I was over it,” says Vavi.\u003c/p>\n\u003cp>So Vigil, a photographer and curator, decided to take matters into her own hands. “I wanted to throw a show with my friends, and have a place where women who are artists can work with other women who are artists,” says Vavi. “In 2015, I didn’t know of any space like that. Now, there are so many spaces that I’ve become aware of and more that have come up in the four span.”\u003c/p>\n\u003cp>On Sept. 28, \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">Not Ur Baby 3\u003c/a> returns to Oakland with performances, exhibitions of visual art and a slew of vendors at 7th West. This year’s event also features talented artists like Oakland’s \u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri,\u003c/a> \u003ca href=\"https://soundcloud.com/namasteshawty\" target=\"_blank\" rel=\"noopener\">Namaste Shawty\u003c/a>, \u003ca href=\"https://soundcloud.com/therealwavybaby\" target=\"_blank\" rel=\"noopener\">Wavy Baby\u003c/a> and more.\u003c/p>\n\u003cp>A portion of the proceeds will go to VisibiliT, which is a “fundraising platform that financially supports trans womxn fighting for asylum cases in the Bay Area.” Proceeds will also support the nonprofit \u003ca href=\"https://www.reginasdoor.com/\" target=\"_blank\" rel=\"noopener\">Regina’s Door\u003c/a>, a boutique in downtown Oakland that sells women’s clothing and doubles as a healing space for women. Details \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not Ur Baby was founded by Antioch native \u003ca href=\"https://www.instagram.com/vavimami/\" target=\"_blank\" rel=\"noopener\">Vanessa “Vavi” Vigil\u003c/a> in 2015 to address the lack of spaces for women of color in the Bay. “I was getting into the art scene in the Bay Area, and had to deal with a lot of male ego from venues and curators, and I was over it,” says Vavi.\u003c/p>\n\u003cp>So Vigil, a photographer and curator, decided to take matters into her own hands. “I wanted to throw a show with my friends, and have a place where women who are artists can work with other women who are artists,” says Vavi. “In 2015, I didn’t know of any space like that. Now, there are so many spaces that I’ve become aware of and more that have come up in the four span.”\u003c/p>\n\u003cp>On Sept. 28, \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">Not Ur Baby 3\u003c/a> returns to Oakland with performances, exhibitions of visual art and a slew of vendors at 7th West. This year’s event also features talented artists like Oakland’s \u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri,\u003c/a> \u003ca href=\"https://soundcloud.com/namasteshawty\" target=\"_blank\" rel=\"noopener\">Namaste Shawty\u003c/a>, \u003ca href=\"https://soundcloud.com/therealwavybaby\" target=\"_blank\" rel=\"noopener\">Wavy Baby\u003c/a> and more.\u003c/p>\n\u003cp>A portion of the proceeds will go to VisibiliT, which is a “fundraising platform that financially supports trans womxn fighting for asylum cases in the Bay Area.” Proceeds will also support the nonprofit \u003ca href=\"https://www.reginasdoor.com/\" target=\"_blank\" rel=\"noopener\">Regina’s Door\u003c/a>, a boutique in downtown Oakland that sells women’s clothing and doubles as a healing space for women. Details \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On February 4, 1999, on Wheeler Avenue in the Soundview section of the Bronx, Amadou Diallo, an immigrant from Guinea, was killed by four plainclothes members of the New York Police Department’s Street Crimes Unit. Diallo, who was unarmed, was standing on the front stoop of the building where he lived and reaching for his wallet when the officers started shooting. They fired forty-one bullets, nineteen of which hit Diallo.\u003c/p>\n\u003cp>In response to the shooting, Bruce Springsteen released “American Skin (41 Shots),” a minor- key ballad, more anguished than angry, which applied the balms of empathy and narrative economy to a raw social wound. The central verse dramatizes what African American families call “the talk.” As a mother, Lena, prepares her son, Charles, for school, she reminds him: “You’ve got to understand the rules / if an officer stops you, promise me, you’ll always be polite / and that you’ll never ever run away / and promise mama you’ll keep your hands in sight.”\u003c/p>\n\u003cp>The following summer, I managed to score seats up in the rafters of Madison Square Garden for one of the last shows in the E Street Band’s epic reunion tour. A few rows ahead of me at that show, there were two guys [who] were bigger Bruce fans than I was, or at least fans of longer standing and purer pedigree.\u003c/p>\n\u003cp>But this isn’t really about me. It’s about those other guys, who I might not have noticed, and would never have remembered nearly twenty years after the fact, if not for what I’m about to describe. They looked a little older than I was: closer to forty than thirty. They were meatier, louder, probably drunker and having a great time—dancing, pumping their fists, exchanging high fives with strangers, singing along to every chorus and most of the verses. They were not self-conscious at all.\u003c/p>\n\u003cp>At least not until the first mournful notes of “American Skin.” I don’t remember if Bruce introduced it or if anyone needed reminding. The officers had been acquitted four months earlier, in February 2000. Diallo’s mother, Kadijatou, had filed a suit against the city in April. Maybe he said something about that, or maybe everyone remembered when he sang the line “forty-one shots.” As soon as he did, the two men turned their backs to the stage, clasped their hands in front of them and bowed their heads. They didn’t boo and they didn’t walk out but stood silently, registering their protest at the Boss’s protest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aQMqWAiWPMs\u003c/p>\n\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. Of course he didn’t have the power to fix racism, to resolve the contradictions of class and ideology, to move the world toward justice. But the reach of his empathy was wide enough to extend to both Amadou Diallo’s family and, if not to his killers, surely to their families and supporters. The politics that would take any criticism of the police as a moral provocation, while far from Springsteen’s own beliefs, is in no way alien to his imagination. He might not have agreed with those guys standing with their backs turned but he understood them. And their understanding of \u003cem>him\u003c/em> was what authorized their protest. The concert created a civic space in which two antithetical sentiments could coexist and communicate with each other. Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca. \u003ccite>(Rutgers University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Is a dream a lie if it don’t come true?” As I write this, Obama’s liberal ideals have fallen on hard times. Maybe they were illusions to begin with, each fatally underestimating the depth and jaggedness of the fissures, the intensity of the fury, the tenacity of the tribal ties that bind. And maybe too, some of us invested too much faith in the charisma of our leaders, and rested too comfortably in the conviction of our own goodness.\u003c/p>\n\u003cp>Or maybe we were listening wrong, missing the overtones of irony, the notes of tragedy, longing, and defeat that sounded through even the most ringing and rousing choruses. The liberal Springsteen has been a comforting fantasy, but the radical Springsteen—the poet of work, violence, futility, and all-in existential revolt—needs to be recovered, just as we are being forced to recall that the character of our common civic life has always been a matter of life and death. “You can get killed just for living in your American skin.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This is an edited excerpt of a longer work taken from \u003c/em>Long Walk Home: Reflections on Bruce Springsteen\u003cem>, a collection of essays from Rutgers University Press examining the artist, now in his 70th year, and his career. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Disclosure: NPR Music senior director Lauren Onkey has a piece included in the collection.\u003c/em>\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=The+Ties+That+Bind%3A+Bruce+Springsteen+And+The+Wide+Divide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\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/aQMqWAiWPMs'\n title='//www.youtube.com/embed/aQMqWAiWPMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once the final chorus began to fade, he shifted—without pausing for breath—into the familiar harmonica riff that leads into the first verse of “The Promised Land.” Having made their point and enacted their displeasure, the two guys turned back to face the music, and when Bruce stopped singing after the first chorus and turned the microphone toward the crowd, they sang along with everyone else, belting out a stanza that expressed a different kind of protest: “Sometimes I feel so weak, I just wanna explode.”\u003c/p>\n\u003cp>For a long time I held onto that moment as a complicated symbol of civic promise, a testament to the inclusiveness of popular music in general and Bruce Springsteen in particular. 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Feelings might be hurt, but the bond between performer and fan was stronger than politics.\u003c/p>\n\u003cp>Something like this idea defined the public career of Barack Obama, in some ways the most Springsteenian political figure in American political history. The speech at the 2004 Democratic National Convention that set Obama on course to capture the presidency wove a shimmering dialectic of unity and diversity. Obama rewrote historical conflict—about race, power, money, religion, and culture—as common struggle. He tried to insist in particular that America’s racial wounds could be salved by the mutual recognition of good will, by appreciation of the varieties of American skin we all inhabit.\u003c/p>\n\u003cfigure id=\"attachment_13866929\" class=\"wp-caption alignright\" style=\"max-width: 183px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/download-3.jpg\" alt=\"'Long Walk Home: Reflections on Bruce Springsteen' by Jonathan D. Cohen, June Skinner Sawyers, Natalie Adler, Eric Alterman and Regina Barreca.\" width=\"183\" height=\"275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3.jpg 183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/download-3-160x240.jpg 160w\" sizes=\"(max-width: 183px) 100vw, 183px\">\u003cfigcaption class=\"wp-caption-text\">‘Long Walk Home:\u003cbr>Reflections on Bruce Springsteen’ by Jonathan D. 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"content": "\u003cp>\u003cem>Note: This episode originally aired April 5, 2019.\u003c/em>\u003c/p>\n\u003cp>Quiet as it’s kept, the Bay Area’s big secret is that we’re a divided place.\u003c/p>\n\u003cp>The prevailing narrative is that this is the most liberal and thus most equal place in the United States. Yet class and race still separate us in the Bay Area, just like the rest of the country. And the arts community is no different.\u003c/p>\n\u003cp>Enter Astu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A young soul singer with an old soul, Astu’s raspy smooth delivery sounds like it’s coming straight off of a vinyl record. It’s a sound borne of life experience: after studying to become a preacher and worship leader, she left Oklahoma to return to the Bay Area—and \u003ca href=\"https://www.kqed.org/arts/13825157/how-astu-left-the-pulpit-and-found-herself-in-rb\" target=\"_blank\" rel=\"noopener noreferrer\">left the pulpit for the R&B world\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13854361\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-800x535.jpg\" alt=\"Astu performing at a Nia Wilson tribute event at Red Bay Coffee in Oakland last year.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Astu performing at a Nia Wilson tribute event at Red Bay Coffee in Oakland last year. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years later, we’re wondering how she navigates the invisible lines that separate people in the Bay Area. In the past year, she’s performed at Berkeley’s UC Theatre, Apple’s flagship store in San Francisco, and the underground venue Spirithaus Gallery in West Oakland. Personally, I was blown away watching her perform at a \u003ca href=\"https://www.instagram.com/p/Bl1CJ95HmUw/?utm_source=ig_web_button_share_sheet\">Nia Wilson tribute\u003c/a> held late last summer at Red Bay Coffee’s headquarters in East Oakland.\u003c/p>\n\u003cp>I recently caught up with Astu at Zoo Labs in West Oakland, where she’s just ended an artist’s residency. We had a little chat about arts, community and the delightful, insightful skits on her latest album, \u003cem>\u003ca href=\"https://soundcloud.com/astumusicofficial/sets/patterns\">Patterns\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>To hear all about it, listen the audio link above.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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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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"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": {
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"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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