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"title": "After 'Last Black Man' and 'Us,' Singer Mike Marshall Gets a Second Chance",
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"content": "\u003cp>\u003ca href=\"https://www.michaelmarshallusa.com/\" target=\"_blank\" rel=\"noopener\">Michael Marshall\u003c/a> knows a lot of people have heard his voice. But that doesn’t mean they know his name.\u003c/p>\n\u003cp>“They all have my voice in their house, their car and their phone,” says the Berkeley-based R&B singer. “Everybody knows me. They just don’t know who I am.”\u003c/p>\n\u003cp>Marshall has several hit song credits and has collaborated with renowned hip-hop artists such as E-40, San Quinn and The Luniz over a career spanning more than three decades.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Us - Official Trailer [HD]\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/hNCmb-4oXJA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>He’s also the voice behind songs in two of this year’s most talked-about movie releases: the memorable hook in the 1995 Luniz weed anthem “I Got 5 On It,” which makes a prominent appearance in Jordan Peele’s horror movie \u003cem>Us\u003c/em>, and the doleful, tuba-tinged reimagining of the hippie song “San Francisco (Be Sure To Wear Flowers In Your Hair)” in \u003cem>The Last Black Man in San Francisco\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, after years of struggles, the Bay Area vocalist is starting to get his due thanks in part to his contributions to these films.\u003c/p>\n\u003cp>Los Angeles-based composer \u003ca href=\"https://www.emilemosseri.com\" target=\"_blank\" rel=\"noopener\">Emile Mosseri\u003c/a> wrote the score for \u003cem>The Last Black Man in San Francisco\u003c/em>, and is among a growing group of industry insiders who have embraced Marshall’s vocal gift.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Last Black Man in San Francisco | Official Trailer HD | A24\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/C0FnJDhY9-0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Everybody was in tears the first time they heard him sing it,” says Mosseri of \u003cem>The\u003c/em> \u003cem>Last Black Man\u003c/em> production team’s response to Marshall’s version of “San Francisco.” “It was just this incredible performance. They knew right away that they had gold.”\u003c/p>\n\u003cp>Tall, goateed and loosely dressed in sweats and spectacles, the 53-year-old singer says he had no trouble reworking John Phillips and Scott McKenzie’s 1967 hit.\u003c/p>\n\u003cp>He’s covered other songs by white artists over the years, like Gilbert O’Sullivan’s “Alone Again,” and says he received an immersion in white, hippy culture as an undergrad at Cal Poly in San Luis Obispo.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco - Scott McKenzie\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/bch1_Ep5M1s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I’m pretty good at singing white people’s covers,” he says. “Un-soul music, non-soul music—I’m good at singing that.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the music Marshall grew up listening to and singing in church in the East Bay with his single mom and siblings was gospel. \u003c/span>\u003c/p>\n\u003cp>“We sang a lot of good songs which formed my library of melodies and harmonies,” Marshall says. “I learned a lot of harmony placement, how to blend with other singers and how to sing from your diaphragm.”\u003c/p>\n\u003cp>Marshall started out performing in high-school talent shows. It was not long after graduating from Berkeley High that he scored his first hit, “Rumors,” in 1986, with his band, Timex Social Club.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Timex Social Club - Rumours\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/xHpc8zsEunQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Marshall’s career could have taken off at that point. But instead, his life started to derail.\u003c/p>\n\u003cp>“I was not prepared,” Marshall says. “So I’m bumping my head, skinning my knees at every turn.”\u003c/p>\n\u003cp>Marshall says his troubles started after he passed up a ten-year record deal on the back of the “Rumors” success because he didn’t want to be tied down.\u003c/p>\n\u003cp>“We read all the stories about how artists were being treated,” Marshall says. “Prince was complaining. Michael Jackson was complaining.”\u003c/p>\n\u003cp>He then watched helplessly as Jay King, the producer, formed a new band, Club Nouveau. Marshall says he used some of Timex Social Club’s musical ideas to fuel new pop hits like “Why You Treat Me So Bad” from 1987.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CLUB NOUVEAU - Why You Treat Me So Bad (1987)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/gKyaY5DphUM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Marshall partly blames himself for his lack of business sense. But he says King and others swindled him out of royalties and credit, leading him down a long, self-destructive path of drug abuse.\u003c/p>\n\u003cp>“It was bad,” Marshall says. “I was literally trying to kill myself.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JayKingTrafficJams\" target=\"_blank\" rel=\"noopener\">Jay King\u003c/a> is based in Sacramento, where he still works in the music business. He says he did nothing wrong, and attributes Marshall’s misfortunes to his drug habit. But King is still in awe of the singer’s voice. [aside postid='arts_13858829']\u003c/p>\n\u003cp>“Even with all of the abuse that he’s put on his voice, it’s so beautiful and resonant that even he can’t destroy it,” King says.\u003c/p>\n\u003cp>Marshall was lost to crack cocaine for more than 20 years. But he still released memorable music during that period—”I Got 5 On It” included.\u003c/p>\n\u003cp>Since being featured in \u003cem>Us\u003c/em>, the track has enjoyed a resurgence in popularity. But Marshall says for years, he wasn’t recognized for it either.\u003c/p>\n\u003cp>“People who knew me would say, ‘Oh that’s Mike!’ and all that,” he says. “But the radio wasn’t saying my name, and the artists were having shows and not inviting me.”\u003c/p>\n\u003cfigure id=\"attachment_13864987\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864987\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-800x1057.jpg\" alt=\"Michael Marshall\" width=\"800\" height=\"1057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-800x1057.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-1020x1348.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-908x1200.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-1920x2537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5.jpg 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Marshall \u003ccite>(Courtesy of Buckshot Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starting around 2004, with the help of his wife, April, Marshall gradually got clean and sorted out his business affairs.\u003c/p>\n\u003cp>Now, he says, the royalty checks are flowing in.\u003c/p>\n\u003cp>He has a new album coming out in October with the Bay Area hip-hop artist \u003ca href=\"https://www.facebook.com/EQUIPTO-479597120499/\" target=\"_blank\" rel=\"noopener\">Equipto\u003c/a>. \u003cspan style=\"font-weight: 400\">He and his co-writers have licensed “I Got 5 On It” to entities such as the Ellen Degeneres Show and Universal Studios. He also runs a marijuana farm in Mendocino County on the side. “It’s a revenue stream,” Marshall says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the singer has some new projects in mind, including a cover album of songs by the likes of Simply Red, Anita Baker and James Ingram. \u003c/span>\u003c/p>\n\u003cp>“That’s the guy I emulated my voice after,” he says of Ingram. “I’m a big fan of his.” \u003cb>\u003c/b>\u003c/p>\n\u003cp>He’d like to license out more of his own songs, as well as covers, to film and TV productions. He credits the filmmakers behind \u003cem>Us\u003c/em> and \u003cem>The Last Black Man in San Francisco\u003c/em> with helping him get on track.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They saved my life,” he says. “Otherwise, there would be no second chances for me, and I don’t know what I’d be doing right now.\u003ci>“\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, after years of struggles, the Bay Area vocalist is starting to get his due thanks in part to his contributions to these films.\u003c/p>\n\u003cp>Los Angeles-based composer \u003ca href=\"https://www.emilemosseri.com\" target=\"_blank\" rel=\"noopener\">Emile Mosseri\u003c/a> wrote the score for \u003cem>The Last Black Man in San Francisco\u003c/em>, and is among a growing group of industry insiders who have embraced Marshall’s vocal gift.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Last Black Man in San Francisco | Official Trailer HD | A24\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/C0FnJDhY9-0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Everybody was in tears the first time they heard him sing it,” says Mosseri of \u003cem>The\u003c/em> \u003cem>Last Black Man\u003c/em> production team’s response to Marshall’s version of “San Francisco.” “It was just this incredible performance. They knew right away that they had gold.”\u003c/p>\n\u003cp>Tall, goateed and loosely dressed in sweats and spectacles, the 53-year-old singer says he had no trouble reworking John Phillips and Scott McKenzie’s 1967 hit.\u003c/p>\n\u003cp>He’s covered other songs by white artists over the years, like Gilbert O’Sullivan’s “Alone Again,” and says he received an immersion in white, hippy culture as an undergrad at Cal Poly in San Luis Obispo.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"San Francisco - Scott McKenzie\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/bch1_Ep5M1s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I’m pretty good at singing white people’s covers,” he says. “Un-soul music, non-soul music—I’m good at singing that.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the music Marshall grew up listening to and singing in church in the East Bay with his single mom and siblings was gospel. \u003c/span>\u003c/p>\n\u003cp>“We sang a lot of good songs which formed my library of melodies and harmonies,” Marshall says. “I learned a lot of harmony placement, how to blend with other singers and how to sing from your diaphragm.”\u003c/p>\n\u003cp>Marshall started out performing in high-school talent shows. It was not long after graduating from Berkeley High that he scored his first hit, “Rumors,” in 1986, with his band, Timex Social Club.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Timex Social Club - Rumours\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/xHpc8zsEunQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Marshall’s career could have taken off at that point. But instead, his life started to derail.\u003c/p>\n\u003cp>“I was not prepared,” Marshall says. “So I’m bumping my head, skinning my knees at every turn.”\u003c/p>\n\u003cp>Marshall says his troubles started after he passed up a ten-year record deal on the back of the “Rumors” success because he didn’t want to be tied down.\u003c/p>\n\u003cp>“We read all the stories about how artists were being treated,” Marshall says. “Prince was complaining. Michael Jackson was complaining.”\u003c/p>\n\u003cp>He then watched helplessly as Jay King, the producer, formed a new band, Club Nouveau. Marshall says he used some of Timex Social Club’s musical ideas to fuel new pop hits like “Why You Treat Me So Bad” from 1987.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CLUB NOUVEAU - Why You Treat Me So Bad (1987)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/gKyaY5DphUM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Marshall partly blames himself for his lack of business sense. But he says King and others swindled him out of royalties and credit, leading him down a long, self-destructive path of drug abuse.\u003c/p>\n\u003cp>“It was bad,” Marshall says. “I was literally trying to kill myself.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JayKingTrafficJams\" target=\"_blank\" rel=\"noopener\">Jay King\u003c/a> is based in Sacramento, where he still works in the music business. He says he did nothing wrong, and attributes Marshall’s misfortunes to his drug habit. But King is still in awe of the singer’s voice. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even with all of the abuse that he’s put on his voice, it’s so beautiful and resonant that even he can’t destroy it,” King says.\u003c/p>\n\u003cp>Marshall was lost to crack cocaine for more than 20 years. But he still released memorable music during that period—”I Got 5 On It” included.\u003c/p>\n\u003cp>Since being featured in \u003cem>Us\u003c/em>, the track has enjoyed a resurgence in popularity. But Marshall says for years, he wasn’t recognized for it either.\u003c/p>\n\u003cp>“People who knew me would say, ‘Oh that’s Mike!’ and all that,” he says. “But the radio wasn’t saying my name, and the artists were having shows and not inviting me.”\u003c/p>\n\u003cfigure id=\"attachment_13864987\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864987\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-800x1057.jpg\" alt=\"Michael Marshall\" width=\"800\" height=\"1057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-800x1057.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-1020x1348.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-908x1200.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5-1920x2537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Mikemeezy-5.jpg 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Marshall \u003ccite>(Courtesy of Buckshot Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starting around 2004, with the help of his wife, April, Marshall gradually got clean and sorted out his business affairs.\u003c/p>\n\u003cp>Now, he says, the royalty checks are flowing in.\u003c/p>\n\u003cp>He has a new album coming out in October with the Bay Area hip-hop artist \u003ca href=\"https://www.facebook.com/EQUIPTO-479597120499/\" target=\"_blank\" rel=\"noopener\">Equipto\u003c/a>. \u003cspan style=\"font-weight: 400\">He and his co-writers have licensed “I Got 5 On It” to entities such as the Ellen Degeneres Show and Universal Studios. He also runs a marijuana farm in Mendocino County on the side. “It’s a revenue stream,” Marshall says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the singer has some new projects in mind, including a cover album of songs by the likes of Simply Red, Anita Baker and James Ingram. \u003c/span>\u003c/p>\n\u003cp>“That’s the guy I emulated my voice after,” he says of Ingram. “I’m a big fan of his.” \u003cb>\u003c/b>\u003c/p>\n\u003cp>He’d like to license out more of his own songs, as well as covers, to film and TV productions. He credits the filmmakers behind \u003cem>Us\u003c/em> and \u003cem>The Last Black Man in San Francisco\u003c/em> with helping him get on track.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They saved my life,” he says. “Otherwise, there would be no second chances for me, and I don’t know what I’d be doing right now.\u003ci>“\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/755783543/755807700\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>1969 was a pivotal year for music: \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a>‘s \u003cem>Soul ’69\u003c/em>, both \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin\u003c/a>‘s self-titled debut and \u003cem>Led Zeppelin II\u003c/em>, \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a>‘s \u003cem>I Got Dem Ol’ Kozmic Blues Again Mama! \u003c/em>and \u003ca href=\"https://www.npr.org/artists/15368370/miles-davis\">Miles Davis\u003c/a>‘ \u003cem>In a Silent Way\u003c/em> are just a few of the seismic albums released that year.\u003c/p>\n\u003cp>[aside tag='santana,jimi-hendrix,summer-of-love,ace-of-cups' label='Stories for you']\u003c/p>\n\u003cp>This week, we’re going to take a closer look at another one of those influential albums. Released just a week after its Woodstock performance, Santana’s self-titled debut had a profound impact both musically and socially. \u003cem>Santana\u003c/em>‘s cultural mash-up made a statement about Latin music that still reverberates to this day.\u003c/p>\n\u003cp>Who better to tell the story of \u003cem>Santana\u003c/em> than some original members of Santana itself? On this episode of \u003cem>Alt.Latino\u003c/em>, hear an oral history from guitarist \u003ca href=\"https://www.npr.org/artists/15442799/carlos-santana\">Carlos Santana\u003c/a>, drummer Michael Shrieve, \u003cem>conguero\u003c/em> Michael Carabello as well as keyboardist and vocalist Gregg Rolie. Their story is a lesson in ignoring boundaries and expectations and instead celebrating inspiration and friendship.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, we’re going to take a closer look at another one of those influential albums. Released just a week after its Woodstock performance, Santana’s self-titled debut had a profound impact both musically and socially. \u003cem>Santana\u003c/em>‘s cultural mash-up made a statement about Latin music that still reverberates to this day.\u003c/p>\n\u003cp>Who better to tell the story of \u003cem>Santana\u003c/em> than some original members of Santana itself? On this episode of \u003cem>Alt.Latino\u003c/em>, hear an oral history from guitarist \u003ca href=\"https://www.npr.org/artists/15442799/carlos-santana\">Carlos Santana\u003c/a>, drummer Michael Shrieve, \u003cem>conguero\u003c/em> Michael Carabello as well as keyboardist and vocalist Gregg Rolie. Their story is a lesson in ignoring boundaries and expectations and instead celebrating inspiration and friendship.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Sonido Clash Music Fest Became a Hub for Forward-Thinking Latinx Sounds",
"headTitle": "How Sonido Clash Music Fest Became a Hub for Forward-Thinking Latinx Sounds | KQED",
"content": "\u003cp>\u003cstrong>By Azucena Rasilla\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before Chicanx singer-songwriter Cuco had international buzz, he was handpicked to perform at \u003c/span>\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash Music Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a small but influential upstart out of East San Jose, in the heart of Silicon Valley. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past ten years, the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> crew has created a platform for emerging, out-there Latinx sounds, curating events with an eclectic mix of genres such as punk, cumbia, alternativo, oldies and hip-hop. The collective (comprised of \u003c/span>\u003ca href=\"http://instagram.com/mextape\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Angel “Mextape” Luna\u003c/span>\u003c/a>; \u003ca href=\"https://www.instagram.com/turbosonidero/?hl=en\">\u003cspan style=\"font-weight: 400\">Roman Zepeda, a.k.a. Turbo Sonidero\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/thereal_chalebrown\">\u003cspan style=\"font-weight: 400\">Thomas Ramon Aguilar, a.k.a. Chale Brown\u003c/span>\u003c/a>;\u003ca href=\"http://instagram.com/sonido_ozzy\">\u003cspan style=\"font-weight: 400\"> Osvaldo Chavez, a.k.a. Sonido Ozzy\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/quynhlatifah\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://instagram.com/tlacoyo\">\u003cspan style=\"font-weight: 400\">Fernando J. Pérez Fiesco, a.k.a. Tlacoyo\u003c/span>\u003c/a>)\u003cspan style=\"font-weight: 400\"> reflects the Bay Area’s melting pot, and is committed to representing Eastside San Jose’s Latinx community amid ongoing gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With DJs and culture workers among their ranks, the members of Sonido Clash have a knack for booking buzzworthy acts before they blow up, and for introducing important international artists to the Bay Area music scene. For the festival’s fourth installation on Sept. 1, expect to hear music from Argentine-Spanish perreo artist Ms Nina, cumbia DJ G-Flux from Mexico City and headliners Nina Sky, the Puerto Rican twin duo known for 2000s pop hits like “Move Ya Body.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg\" alt=\"Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sonido Clash’s events represent a multicultural viewpoint familiar to many Latinx folks in the United States, where cumbia and ranchera sounds might be the norm in some households, while soul, hip-hop and oldies are in rotation in others. Previous editions of Sonido Clash Music Fest have featured new and old-school acts alike, such as Mexican dembow producer Chico Sonido, garage-pop band Los Blenders, electronic “cholo goth” duo Prayers and electro-funk pioneer Egyptian Lover. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keeping it hella San Jose, the festival takes place at the School of Arts and Culture at the Mexican Heritage Plaza. Since 1999, the Mexican Heritage Plaza has been a hub for Chicanx culture in the South Bay, hosting concerts by Mexican bands like Kinky when rock en Español\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">reigned supreme. For the past four summers, Sonido Clash Music Fest has transformed the campus into a vibrant celebration of Latinx youth culture.\u003c/span>\u003cspan style=\"font-weight: 400\"> [aside postid='arts_13864931']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every year at Sonido Clash Music Fest, local vendors’ and visual artists’ booths line the pathways of the Mexican Heritage Plaza. In addition to two music stages, there’s one devoted to spoken-word poetry. This year, the Poets of Color podcast crew and San Jose undocu-artist, poet and author Yosimar Reyes are slated to perform.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in recent years, reggaeton and Latinx trap have become fixtures on the radio, and collaborations among artists from different genres are no longer uncommon, this was far from the norm when the Sonido Clash crew got their start back in 2009. “Everyone was [musically] segregated,” says Luna, adding that those into rock en Español, cumbia or pop did not mingle with one another. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The crew put their ideas and resources together and got to work. Their first events took place at Silicon Valley De-Bug (where Pérez works), an organization rooted in social-justice organizing through multimedia storytelling. For one of their first events, titled Cultura en Tu Idioma (or Culture in Your Language), they booked Cuban artists DJ Leidis and Las Krudas, as well as Mexican rapper and poet Bocafloja. “We had punk bands with cumbia bands all together,” Zepeda adds. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865322\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg\" alt=\"Sonido Clash's eclectic booking has made the collective a force in the South Bay music scene and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash’s eclectic booking has made the collective a force in the South Bay music scene and beyond. \u003ccite>(Franz Berrato )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was through Aguilar’s reputation as a hip-hop DJ that Sonido Clash was able to break into clubs that typically played hip-hop and Top 40, though the crew encountered some resistance from club owners at first. “It was difficult,” Luna says. “[There was] ignorance about the music we were playing, and what we were doing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After years of making a name for themselves with monthly parties, the crew’s inaugural Sonido Clash fest in 2016 was well received, with over 600 people in attendance, exceeding the 250 that the collective had anticipated. That year, artists like bilingual hip-hop duo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Rakas\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> hip-hop and funk band \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/bang-data-joins-the-resistance/Content?oid=9423362\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bang Data\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, East Los Angeles disco-pop artist Tropa Magica and DJ collective Chulita Vinyl Club were on the lineup. By 2018, the number of attendees grew to 1,700. [aside postid='arts_13861579']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last decade, the members of Sonido Clash have seen their influence grow. This year, they curated a stage at the renowned San Jose Jazz Summer Fest. And former Sonido Clash member \u003c/span>\u003ca href=\"https://www.instagram.com/eazyuno/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Eazy Uno\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> recently set up a similar event in Los Angeles, El Meneaito at La Cita Bar. “He was the best DJ in our collective,” Zepeda says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Following in Sonido Clash’s footsteps, new Bay Area party crews specializing in eclectic Latinx sounds have sprung up in recent years, including Chulita Vinyl Club (whose \u003c/span>\u003ca href=\"https://www.instagram.com/mare.e.fresh/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Mare E. Fresh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> joined Sonido Clash as a resident DJ) and the Central American DJ collective \u003c/span>\u003ca href=\"https://www.instagram.com/amordigital415/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Amor Digital\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, comprised of Juanny Depp, Namaste Shawty and 99 Percent Lean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the members of Sonido Clash celebrate their 10th anniversary as a crew, they have a clear vision of the work they want to continue in the years to come. As they get older and start families, they want to inspire the next generation to take risks and continue building space for communities of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Luna put it, “We’re not afraid to be who we are and preserve history.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Azucena Rasilla\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before Chicanx singer-songwriter Cuco had international buzz, he was handpicked to perform at \u003c/span>\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash Music Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a small but influential upstart out of East San Jose, in the heart of Silicon Valley. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past ten years, the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> crew has created a platform for emerging, out-there Latinx sounds, curating events with an eclectic mix of genres such as punk, cumbia, alternativo, oldies and hip-hop. The collective (comprised of \u003c/span>\u003ca href=\"http://instagram.com/mextape\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Angel “Mextape” Luna\u003c/span>\u003c/a>; \u003ca href=\"https://www.instagram.com/turbosonidero/?hl=en\">\u003cspan style=\"font-weight: 400\">Roman Zepeda, a.k.a. Turbo Sonidero\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/thereal_chalebrown\">\u003cspan style=\"font-weight: 400\">Thomas Ramon Aguilar, a.k.a. Chale Brown\u003c/span>\u003c/a>;\u003ca href=\"http://instagram.com/sonido_ozzy\">\u003cspan style=\"font-weight: 400\"> Osvaldo Chavez, a.k.a. Sonido Ozzy\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/quynhlatifah\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://instagram.com/tlacoyo\">\u003cspan style=\"font-weight: 400\">Fernando J. Pérez Fiesco, a.k.a. Tlacoyo\u003c/span>\u003c/a>)\u003cspan style=\"font-weight: 400\"> reflects the Bay Area’s melting pot, and is committed to representing Eastside San Jose’s Latinx community amid ongoing gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With DJs and culture workers among their ranks, the members of Sonido Clash have a knack for booking buzzworthy acts before they blow up, and for introducing important international artists to the Bay Area music scene. For the festival’s fourth installation on Sept. 1, expect to hear music from Argentine-Spanish perreo artist Ms Nina, cumbia DJ G-Flux from Mexico City and headliners Nina Sky, the Puerto Rican twin duo known for 2000s pop hits like “Move Ya Body.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg\" alt=\"Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sonido Clash’s events represent a multicultural viewpoint familiar to many Latinx folks in the United States, where cumbia and ranchera sounds might be the norm in some households, while soul, hip-hop and oldies are in rotation in others. Previous editions of Sonido Clash Music Fest have featured new and old-school acts alike, such as Mexican dembow producer Chico Sonido, garage-pop band Los Blenders, electronic “cholo goth” duo Prayers and electro-funk pioneer Egyptian Lover. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keeping it hella San Jose, the festival takes place at the School of Arts and Culture at the Mexican Heritage Plaza. Since 1999, the Mexican Heritage Plaza has been a hub for Chicanx culture in the South Bay, hosting concerts by Mexican bands like Kinky when rock en Español\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">reigned supreme. For the past four summers, Sonido Clash Music Fest has transformed the campus into a vibrant celebration of Latinx youth culture.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every year at Sonido Clash Music Fest, local vendors’ and visual artists’ booths line the pathways of the Mexican Heritage Plaza. In addition to two music stages, there’s one devoted to spoken-word poetry. This year, the Poets of Color podcast crew and San Jose undocu-artist, poet and author Yosimar Reyes are slated to perform.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in recent years, reggaeton and Latinx trap have become fixtures on the radio, and collaborations among artists from different genres are no longer uncommon, this was far from the norm when the Sonido Clash crew got their start back in 2009. “Everyone was [musically] segregated,” says Luna, adding that those into rock en Español, cumbia or pop did not mingle with one another. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The crew put their ideas and resources together and got to work. Their first events took place at Silicon Valley De-Bug (where Pérez works), an organization rooted in social-justice organizing through multimedia storytelling. For one of their first events, titled Cultura en Tu Idioma (or Culture in Your Language), they booked Cuban artists DJ Leidis and Las Krudas, as well as Mexican rapper and poet Bocafloja. “We had punk bands with cumbia bands all together,” Zepeda adds. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865322\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg\" alt=\"Sonido Clash's eclectic booking has made the collective a force in the South Bay music scene and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash’s eclectic booking has made the collective a force in the South Bay music scene and beyond. \u003ccite>(Franz Berrato )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was through Aguilar’s reputation as a hip-hop DJ that Sonido Clash was able to break into clubs that typically played hip-hop and Top 40, though the crew encountered some resistance from club owners at first. “It was difficult,” Luna says. “[There was] ignorance about the music we were playing, and what we were doing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After years of making a name for themselves with monthly parties, the crew’s inaugural Sonido Clash fest in 2016 was well received, with over 600 people in attendance, exceeding the 250 that the collective had anticipated. That year, artists like bilingual hip-hop duo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Rakas\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> hip-hop and funk band \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/bang-data-joins-the-resistance/Content?oid=9423362\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bang Data\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, East Los Angeles disco-pop artist Tropa Magica and DJ collective Chulita Vinyl Club were on the lineup. By 2018, the number of attendees grew to 1,700. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last decade, the members of Sonido Clash have seen their influence grow. This year, they curated a stage at the renowned San Jose Jazz Summer Fest. And former Sonido Clash member \u003c/span>\u003ca href=\"https://www.instagram.com/eazyuno/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Eazy Uno\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> recently set up a similar event in Los Angeles, El Meneaito at La Cita Bar. “He was the best DJ in our collective,” Zepeda says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Following in Sonido Clash’s footsteps, new Bay Area party crews specializing in eclectic Latinx sounds have sprung up in recent years, including Chulita Vinyl Club (whose \u003c/span>\u003ca href=\"https://www.instagram.com/mare.e.fresh/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Mare E. Fresh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> joined Sonido Clash as a resident DJ) and the Central American DJ collective \u003c/span>\u003ca href=\"https://www.instagram.com/amordigital415/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Amor Digital\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, comprised of Juanny Depp, Namaste Shawty and 99 Percent Lean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the members of Sonido Clash celebrate their 10th anniversary as a crew, they have a clear vision of the work they want to continue in the years to come. As they get older and start families, they want to inspire the next generation to take risks and continue building space for communities of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Luna put it, “We’re not afraid to be who we are and preserve history.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Jodorowsky’s Dune’\u003c/strong>: You may be familiar with David Lynch’s 1984 adaptation of the epic Frank Herbert sci-fi, starring Kyle MacLaughlan and Sting. You may \u003cem>also\u003c/em> know that director Denis Villeneuve is working on his own \u003cem>Dune\u003c/em> for 2020. But before both of these, there was another \u003cem>Dune\u003c/em> that never got made, a visionary film by Chilean director Alejandro Jodorowsky. When he started working on it in 1974, it was going to star Orson Welles, Mick Jagger, David Carradine and even the artist Salvador Dalí, and he commissioned designs from artists like H.R. Giger and Jean Giraud. In this documentary, Jodorowsky gets to describe the film that could have been, as well as its influences on so many movies that followed. It screens Friday, Aug. 30, at the New Parkway in Oakland. \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>: Nina Sky headline this year’s Sonido Clash music festival in San Jose, a day-long celebration with two dozen buzzed-about indie and alternative Latino artists—the type of acts you’re likely to see on NPR’s Tiny Desk in a year or two. Katzu Oso, Ms. Nina, Reyna Tropical and a ton more play in the cozy courtyard setting, at the School of Arts and Culture at the Mexican Heritage Plaza, in San Jose. It’s on Sunday, Sept. 1. \u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details 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>‘Jodorowsky’s Dune’\u003c/strong>: You may be familiar with David Lynch’s 1984 adaptation of the epic Frank Herbert sci-fi, starring Kyle MacLaughlan and Sting. You may \u003cem>also\u003c/em> know that director Denis Villeneuve is working on his own \u003cem>Dune\u003c/em> for 2020. But before both of these, there was another \u003cem>Dune\u003c/em> that never got made, a visionary film by Chilean director Alejandro Jodorowsky. When he started working on it in 1974, it was going to star Orson Welles, Mick Jagger, David Carradine and even the artist Salvador Dalí, and he commissioned designs from artists like H.R. Giger and Jean Giraud. In this documentary, Jodorowsky gets to describe the film that could have been, as well as its influences on so many movies that followed. It screens Friday, Aug. 30, at the New Parkway in Oakland. \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>: Nina Sky headline this year’s Sonido Clash music festival in San Jose, a day-long celebration with two dozen buzzed-about indie and alternative Latino artists—the type of acts you’re likely to see on NPR’s Tiny Desk in a year or two. Katzu Oso, Ms. Nina, Reyna Tropical and a ton more play in the cozy courtyard setting, at the School of Arts and Culture at the Mexican Heritage Plaza, in San Jose. It’s on Sunday, Sept. 1. \u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>V. Vale, the tireless counterculture chronicler behind \u003ca href=\"http://www.researchpubs.com/\">RE/Search Publications\u003c/a>, is a fount of knowledge and opinion on creative transgressors spanning a vast range of media and time. \u003c/p>\n\u003cp>As the editor of inky tabloids \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, Vale documented the inception of San Francisco punk and its splinters into industrial, noise and mail art subcultures, always minding the underground’s literary progenitors. More recently his conversations with figures such as Bruce Conner and Lydia Lunch have fueled a question-and-answer pocketbook series. \u003c/p>\n\u003cp>Today, RE/Search stands as one of the longest-running independent publishers of its kind, and Vale and his merchandise remain a welcome fixture of local book fairs, zine fests and art openings. \u003c/p>\n\u003cp>Yet little of Vale’s photography from this journey, a body of work estimated at more than 100,000 images, has been seen by the public until recently. \u003c/p>\n\u003cp>Last year, a small selection of his prints exhibited in \u003cem>Terminal Punk\u003c/em>, a group of show at Classic Cars West in Oakland. Now, more than 75 color photographs by Vale—including shots of William Burroughs, Kathy Acker and Survival Research Laboratories—appear in his latest RE/Search-published title, \u003cem>Underground Living\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Sunday, Sept. 8, 5pm, Vale marks the release of \u003cem>Underground Living\u003c/em> at City Lights Booksellers (where he was working when he founded Search & Destroy in 1977) with a conversation with science fiction author Rudy Rucker, who wrote the book’s introduction. Rucker asks in the foreword, “How did this unassuming man enter into so many strange subcultures?” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Vale himself writes in the book, “In these photos, taken all over the world (ahem, as I knew it), is perhaps a transient glimpse of what it’s like to live an ‘underground’ life. Which calls to mind that disturbing thought by J.G. Ballard: ‘If it wasn’t recorded, it didn’t happen.’” —\u003cem>Sam Lefebvre\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>V. Vale, the tireless counterculture chronicler behind \u003ca href=\"http://www.researchpubs.com/\">RE/Search Publications\u003c/a>, is a fount of knowledge and opinion on creative transgressors spanning a vast range of media and time. \u003c/p>\n\u003cp>As the editor of inky tabloids \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, Vale documented the inception of San Francisco punk and its splinters into industrial, noise and mail art subcultures, always minding the underground’s literary progenitors. More recently his conversations with figures such as Bruce Conner and Lydia Lunch have fueled a question-and-answer pocketbook series. \u003c/p>\n\u003cp>Today, RE/Search stands as one of the longest-running independent publishers of its kind, and Vale and his merchandise remain a welcome fixture of local book fairs, zine fests and art openings. \u003c/p>\n\u003cp>Yet little of Vale’s photography from this journey, a body of work estimated at more than 100,000 images, has been seen by the public until recently. \u003c/p>\n\u003cp>Last year, a small selection of his prints exhibited in \u003cem>Terminal Punk\u003c/em>, a group of show at Classic Cars West in Oakland. Now, more than 75 color photographs by Vale—including shots of William Burroughs, Kathy Acker and Survival Research Laboratories—appear in his latest RE/Search-published title, \u003cem>Underground Living\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area",
"headTitle": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
"content": "\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n",
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"excerpt": "Pop stars, local music showcases, outdoor hip-hop festivals and more fill the Bay Area concert calendar this fall.",
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"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details 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>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. [aside postid='arts_13864915']\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EDbDtVcmYA\u003c/p>\n\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\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/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\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/3EDbDtVcmYA'\n title='//www.youtube.com/embed/3EDbDtVcmYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Both Party and Protest, ‘Alright’ is the Sound of Black Life’s Duality | 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\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>It was a coincidence that the police were there.\u003c/p>\n\u003cp>In the summer of 2015, hundreds of black activists and organizers from across the country gathered on the campus of Cleveland State University for a three-day conference called the Movement for Black Lives. This was an opportunity to get together and share best practices and plan future actions, and was the first time many of them were meeting face to face.\u003c/p>\n\u003cp>It was a heavy moment. News was spreading about Sandra Bland—a black woman who was found dead in a Texas jail cell after being arrested at a traffic stop, and just the latest in a long list of names that had become synonymous with police violence against black people. But there were moments of joy, too. During a break, someone put on the song “\u003ca href=\"https://www.youtube.com/watch?v=Z-48u_uWMHY\">Alright\u003c/a>” by \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, and a whole auditorium of people broke loose.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=Z-48u_uWMHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a celebratory moment of black love,” says Waltrina Midleton. She’s a youth reverend, then based in Cleveland, who helped set up the event.\u003c/p>\n\u003cp>The conference ended on a Sunday afternoon. At the same time people were saying their goodbyes with hugs and kisses, a bus was coming across campus. Inside, a police officer was detaining a black 14-year-old suspected of drinking alcohol. \u003ca href=\"https://www.youtube.com/watch?v=PivXg7xp2F0\">In surveillance and body cam tape\u003c/a> released by the Greater Cleveland Authority Regional Transit Police, you can see the cop take the kid off the bus and handcuff him inside a sheltered bus stop.\u003c/p>\n\u003cp>Middleton could make out that something was going on. “I’m standing on the steps,” she says, “and all of a sudden, the crowd went from of folks saying goodbye to, ‘Oh, something’s happening.’ ” It had been less than a year since police shot and killed Tamir Rice, a 12-year-old who was playing with an Airsoft gun outside a rec center, in the very same city. People started gathering at the scene, holding up their phones to record.\u003c/p>\n\u003cp>According to the incident report, officers asked the 14-year-old for his mother’s name and address, which he gave to them. One of the bystanders also asked for this information. From the report:\u003c/p>\n\u003cblockquote>\u003cp>“That unknown female was informed by us that we will handle calling a parent or guardian. [REDACTED] blurted out to her his mother’s phone number. Ptl. Horton and Ptl. Dorko were blocking the crowd from entering the shelter and the ability for them to have any communication with [REDACTED] (for his safety).”\u003c/p>\u003c/blockquote>\n\u003cp>“Our ultimate goal was to make sure that this young child was not criminalized,” Middleton says. “That this child left the situation alive, and also that an adult who was accountable for that child was present.”\u003c/p>\n\u003cp>The crowd grew, more police showed up, and bystanders became protesters. Some of them linked arms around the police cars. An officer pepper sprayed them. The scene continued to intensify until, finally, the teen’s mother arrived. The police escorted mom and son to an ambulance, and then let them go.\u003c/p>\n\u003cp>For a story involving a young black male, escalating tensions, police in riot gear and people getting pepper sprayed, this is a happy ending. Some of the protesters begin to shout a familiar refrain: “\u003ca href=\"https://www.youtube.com/watch?v=VUC_DOhfzwQ\">We gon’ be alright\u003c/a>.”\u003c/p>\n\u003chr>\n\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> was released in the spring of 2015. “Alright” was the fourth single off the record. It’s hard to say exactly when the song was first used at a protest, but the story in Cleveland touched on many of the issues of the moment concerning police relations with black people. At \u003ca href=\"https://twitter.com/TheHilltopHU/status/652838787492519936\">similar\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=c2hKKT7JWcA&t=2s\">demonstrations\u003c/a>, the chanted hook quickly became a fixture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=4lPD5PtqMiE&t=1554s\">In a 2016 interview\u003c/a> with super-producer Rick Rubin hosted by \u003cem>GQ\u003c/em>, Lamar said he sat on the beat—dreamed up by another super-producer, \u003ca href=\"https://www.npr.org/artists/122029835/pharrell-williams\">Pharrell Williams\u003c/a>—for six months before figuring out what he wanted to say. “The beat sounds fun,” he said. “But it’s something else inside the chords that Pharrell put down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1554&v=4lPD5PtqMiE\u003c/p>\n\u003cp>The \u003cem>dah dah dah\u003c/em>s that make up those chords are Williams’ own disembodied voice, running constantly through the song. They’re haunting, in a way. “Maybe it’s the ancestors who never received the justice they deserved,” says Miles Marshall Lewis.\u003c/p>\n\u003cp>The author of the upcoming book \u003cem>Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar\u003c/em>, Lewis interviewed Lamar after the release of \u003cem>To Pimp a Butterfly\u003c/em> and learned the artist was inspired to write “Alright” by a trip to South Africa—specifically the cell on Robben Island where Nelson Mandela was imprisoned. Similarly, Lamar told NPR in a 2015 interview that he was thinking about the history of chattel slavery in America.\u003c/p>\n\u003cp>“Four hundred years ago, as slaves, we prayed and sung joyful songs to keep our heads level-headed with what was going on,” Lamar said. “Four hundred years later, we still need that music to heal. And I think that ‘Alright’ is definitely one of those records that makes you feel good no matter what the times are.”\u003c/p>\n\u003cp>In the song’s prechorus, Lamar lays this feeling out succinctly. He begins in the past:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Wouldn’t you know, we been hurt, been down before\u003cbr>\nWhen our pride was low\u003cbr>\nLooking at the world like “Where do we go?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The emotional payoff of the chorus isn’t complete without this lead-in, acknowledging the long history of black oppression. Then he brings us back to the present, where things are different, but not different enough:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>And we hate po-po\u003cbr>\nWanna kill us dead in the streets for sure\u003cbr>\nI’m at the preacher’s door\u003cbr>\nMy knees getting weak, and my gun might blow,\u003cbr>\nBut we gon’ be alright\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>When the narrator shows up at a preacher’s door, reeling in the face of police violence and oppression, he’s holding a gun. Lewis says the moment reflects the old duality of the civil rights struggle: “He might trade in the Martin hat for the Malcolm hat, and have to defend himself.”\u003c/p>\n\u003cp>But it’s up to the listener to decide which way the gun is pointed: at the police, at the preacher, at someone else, or back at the artist himself.\u003c/p>\n\u003chr>\n\u003cp>On June 17, 2015, a white nationalist shot and killed nine black people inside Emanuel AME Church in Charleston, S. C.—including Reverend DePayne Middleton Doctor, Waltrina Middleton’s cousin. In the aftermath, Middleton said she wanted to leave her work, her ministry, her activism, shut the door to the world and people around her. “It’s so easy to say ‘my cousin was murdered, I’m done. Eff all this. This isn’t going to change anything.’ And walk away,” she said.\u003c/p>\n\u003cp>This sentiment is reflected in “Alright,” too — particularly the contrast of the bright, optimistic, communal chorus against the dark, self-critical and solitary verses: “I can see the evil, I can tell it, I know it’s illegal / I don’t think about it, I deposit every other zero.” There’s a powerlessness here, as even Lamar, who at this point in his career was positioned as \u003cem>the\u003c/em> rapper, succumbs to apathy and greed.\u003c/p>\n\u003cp>“He’s not denying that we’re in a protracted state of trauma,” Middleton says. “He’s saying, ‘I know that we may have all of these things around us that will allow us to escape, but the movement is still there, the fight is still there.’ And I think it’s important to recognize that—because sometimes we don’t think about the psychological impact and trauma of fighting for your life every single day.”\u003c/p>\n\u003cp>“After the death of Freddie Gray, a lot of us was just stuck and lost,” says Devin Allen. He’s a photographer from Baltimore, who documented many of the protests, prayers, riots and marches that took place in 2015 when Freddie Gray, a 25-year-old black man, died after injuries he sustained while being transported by police.\u003c/p>\n\u003cp>When we spoke, Allen talked about the curfew that followed, the occupation, the black people shot by police who, for better or worse, haven’t become household names. He said that protesters in Baltimore weren’t singing “Alright” in the streets like in other cities. Instead, the song had a more private presence: something you listened to in the car by yourself, at home with your family, at the club with your friends.\u003c/p>\n\u003cp>Allen’s photos these days deal with softer subject matter: Friends, neighbors, random kids living their lives in Baltimore. It’s cautiously optimistic work that he says is inspired by Lamar. And he sometimes posts videos of his daughter dancing along to “Alright,” or mugging for the camera, rapping along.\u003c/p>\n\u003cp>“One day we will be all right,” he says. “Gotta keep fighting for that. The moment I don’t believe it’s gonna be all right, what am I fighting for?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You can read the phrase “We gon’ be alright” as indicative of some distant future, where white supremacy and oppression are no longer a major concern — \u003cem>one day\u003c/em>, as Allen puts it. But maybe it can also mean something simpler, sooner. Something as small as coming home to your family.\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=Both+Party+And+Protest%2C+%27Alright%27+Is+The+Sound+Of+Black+Life%27s+Duality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The Kendrick Lamar song turned protest chant against police violence identifies a daily balancing act: There is hope, and there is despair. There's the ideal world, and there's the real one.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was a celebratory moment of black love,” says Waltrina Midleton. She’s a youth reverend, then based in Cleveland, who helped set up the event.\u003c/p>\n\u003cp>The conference ended on a Sunday afternoon. At the same time people were saying their goodbyes with hugs and kisses, a bus was coming across campus. Inside, a police officer was detaining a black 14-year-old suspected of drinking alcohol. \u003ca href=\"https://www.youtube.com/watch?v=PivXg7xp2F0\">In surveillance and body cam tape\u003c/a> released by the Greater Cleveland Authority Regional Transit Police, you can see the cop take the kid off the bus and handcuff him inside a sheltered bus stop.\u003c/p>\n\u003cp>Middleton could make out that something was going on. “I’m standing on the steps,” she says, “and all of a sudden, the crowd went from of folks saying goodbye to, ‘Oh, something’s happening.’ ” It had been less than a year since police shot and killed Tamir Rice, a 12-year-old who was playing with an Airsoft gun outside a rec center, in the very same city. People started gathering at the scene, holding up their phones to record.\u003c/p>\n\u003cp>According to the incident report, officers asked the 14-year-old for his mother’s name and address, which he gave to them. One of the bystanders also asked for this information. From the report:\u003c/p>\n\u003cblockquote>\u003cp>“That unknown female was informed by us that we will handle calling a parent or guardian. [REDACTED] blurted out to her his mother’s phone number. Ptl. Horton and Ptl. Dorko were blocking the crowd from entering the shelter and the ability for them to have any communication with [REDACTED] (for his safety).”\u003c/p>\u003c/blockquote>\n\u003cp>“Our ultimate goal was to make sure that this young child was not criminalized,” Middleton says. “That this child left the situation alive, and also that an adult who was accountable for that child was present.”\u003c/p>\n\u003cp>The crowd grew, more police showed up, and bystanders became protesters. Some of them linked arms around the police cars. An officer pepper sprayed them. The scene continued to intensify until, finally, the teen’s mother arrived. The police escorted mom and son to an ambulance, and then let them go.\u003c/p>\n\u003cp>For a story involving a young black male, escalating tensions, police in riot gear and people getting pepper sprayed, this is a happy ending. Some of the protesters begin to shout a familiar refrain: “\u003ca href=\"https://www.youtube.com/watch?v=VUC_DOhfzwQ\">We gon’ be alright\u003c/a>.”\u003c/p>\n\u003chr>\n\u003cp>Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em> was released in the spring of 2015. “Alright” was the fourth single off the record. It’s hard to say exactly when the song was first used at a protest, but the story in Cleveland touched on many of the issues of the moment concerning police relations with black people. At \u003ca href=\"https://twitter.com/TheHilltopHU/status/652838787492519936\">similar\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=c2hKKT7JWcA&t=2s\">demonstrations\u003c/a>, the chanted hook quickly became a fixture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=4lPD5PtqMiE&t=1554s\">In a 2016 interview\u003c/a> with super-producer Rick Rubin hosted by \u003cem>GQ\u003c/em>, Lamar said he sat on the beat—dreamed up by another super-producer, \u003ca href=\"https://www.npr.org/artists/122029835/pharrell-williams\">Pharrell Williams\u003c/a>—for six months before figuring out what he wanted to say. “The beat sounds fun,” he said. “But it’s something else inside the chords that Pharrell put down.”\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/4lPD5PtqMiE'\n title='//www.youtube.com/embed/4lPD5PtqMiE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cem>dah dah dah\u003c/em>s that make up those chords are Williams’ own disembodied voice, running constantly through the song. They’re haunting, in a way. “Maybe it’s the ancestors who never received the justice they deserved,” says Miles Marshall Lewis.\u003c/p>\n\u003cp>The author of the upcoming book \u003cem>Promise That You Will Sing About Me: The Power and Poetry of Kendrick Lamar\u003c/em>, Lewis interviewed Lamar after the release of \u003cem>To Pimp a Butterfly\u003c/em> and learned the artist was inspired to write “Alright” by a trip to South Africa—specifically the cell on Robben Island where Nelson Mandela was imprisoned. Similarly, Lamar told NPR in a 2015 interview that he was thinking about the history of chattel slavery in America.\u003c/p>\n\u003cp>“Four hundred years ago, as slaves, we prayed and sung joyful songs to keep our heads level-headed with what was going on,” Lamar said. “Four hundred years later, we still need that music to heal. And I think that ‘Alright’ is definitely one of those records that makes you feel good no matter what the times are.”\u003c/p>\n\u003cp>In the song’s prechorus, Lamar lays this feeling out succinctly. He begins in the past:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Wouldn’t you know, we been hurt, been down before\u003cbr>\nWhen our pride was low\u003cbr>\nLooking at the world like “Where do we go?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>The emotional payoff of the chorus isn’t complete without this lead-in, acknowledging the long history of black oppression. Then he brings us back to the present, where things are different, but not different enough:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>And we hate po-po\u003cbr>\nWanna kill us dead in the streets for sure\u003cbr>\nI’m at the preacher’s door\u003cbr>\nMy knees getting weak, and my gun might blow,\u003cbr>\nBut we gon’ be alright\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>When the narrator shows up at a preacher’s door, reeling in the face of police violence and oppression, he’s holding a gun. Lewis says the moment reflects the old duality of the civil rights struggle: “He might trade in the Martin hat for the Malcolm hat, and have to defend himself.”\u003c/p>\n\u003cp>But it’s up to the listener to decide which way the gun is pointed: at the police, at the preacher, at someone else, or back at the artist himself.\u003c/p>\n\u003chr>\n\u003cp>On June 17, 2015, a white nationalist shot and killed nine black people inside Emanuel AME Church in Charleston, S. C.—including Reverend DePayne Middleton Doctor, Waltrina Middleton’s cousin. In the aftermath, Middleton said she wanted to leave her work, her ministry, her activism, shut the door to the world and people around her. “It’s so easy to say ‘my cousin was murdered, I’m done. Eff all this. This isn’t going to change anything.’ And walk away,” she said.\u003c/p>\n\u003cp>This sentiment is reflected in “Alright,” too — particularly the contrast of the bright, optimistic, communal chorus against the dark, self-critical and solitary verses: “I can see the evil, I can tell it, I know it’s illegal / I don’t think about it, I deposit every other zero.” There’s a powerlessness here, as even Lamar, who at this point in his career was positioned as \u003cem>the\u003c/em> rapper, succumbs to apathy and greed.\u003c/p>\n\u003cp>“He’s not denying that we’re in a protracted state of trauma,” Middleton says. “He’s saying, ‘I know that we may have all of these things around us that will allow us to escape, but the movement is still there, the fight is still there.’ And I think it’s important to recognize that—because sometimes we don’t think about the psychological impact and trauma of fighting for your life every single day.”\u003c/p>\n\u003cp>“After the death of Freddie Gray, a lot of us was just stuck and lost,” says Devin Allen. He’s a photographer from Baltimore, who documented many of the protests, prayers, riots and marches that took place in 2015 when Freddie Gray, a 25-year-old black man, died after injuries he sustained while being transported by police.\u003c/p>\n\u003cp>When we spoke, Allen talked about the curfew that followed, the occupation, the black people shot by police who, for better or worse, haven’t become household names. He said that protesters in Baltimore weren’t singing “Alright” in the streets like in other cities. Instead, the song had a more private presence: something you listened to in the car by yourself, at home with your family, at the club with your friends.\u003c/p>\n\u003cp>Allen’s photos these days deal with softer subject matter: Friends, neighbors, random kids living their lives in Baltimore. It’s cautiously optimistic work that he says is inspired by Lamar. And he sometimes posts videos of his daughter dancing along to “Alright,” or mugging for the camera, rapping along.\u003c/p>\n\u003cp>“One day we will be all right,” he says. “Gotta keep fighting for that. The moment I don’t believe it’s gonna be all right, what am I fighting for?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can read the phrase “We gon’ be alright” as indicative of some distant future, where white supremacy and oppression are no longer a major concern — \u003cem>one day\u003c/em>, as Allen puts it. But maybe it can also mean something simpler, sooner. Something as small as coming home to your family.\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=Both+Party+And+Protest%2C+%27Alright%27+Is+The+Sound+Of+Black+Life%27s+Duality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "10 Things You Might As Well Know About The 2019 VMAs",
"headTitle": "10 Things You Might As Well Know About The 2019 VMAs | KQED",
"content": "\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\n\u003cp>https://youtu.be/i9I-ut1TXoA\u003c/p>\n\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Uo0RK_olDb4\u003c/p>\n\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\n\u003cp>https://youtu.be/eIRCskNRTDY\u003c/p>\n\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\n\u003cp>https://youtu.be/RQJGqgq7MeE\u003c/p>\n\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\n\u003cp>https://youtu.be/wC53WdkG44w\u003c/p>\n\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\n\u003cp>https://youtu.be/BjMQC_bnaNE\u003c/p>\n\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\n\u003cp>https://youtu.be/LBxTDp6Cpyg\u003c/p>\n\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">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=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\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/i9I-ut1TXoA'\n title='//www.youtube.com/embed/i9I-ut1TXoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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/Uo0RK_olDb4'\n title='//www.youtube.com/embed/Uo0RK_olDb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eIRCskNRTDY'\n title='//www.youtube.com/embed/eIRCskNRTDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\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/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\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/RQJGqgq7MeE'\n title='//www.youtube.com/embed/RQJGqgq7MeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\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/wC53WdkG44w'\n title='//www.youtube.com/embed/wC53WdkG44w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\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/BjMQC_bnaNE'\n title='//www.youtube.com/embed/BjMQC_bnaNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\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/LBxTDp6Cpyg'\n title='//www.youtube.com/embed/LBxTDp6Cpyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">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=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Liberated Pop Future Missy Elliott Envisioned is Now",
"headTitle": "The Liberated Pop Future Missy Elliott Envisioned is Now | KQED",
"content": "\u003cp>For over two decades, Missy Elliott has created with her eyes and ears towards the future.\u003c/p>\n\u003cp>She was body positive before it was a marketing gimmick (“\u003ca href=\"https://www.youtube.com/watch?v=atIvKSfKDOA\" target=\"_blank\" rel=\"noopener noreferrer\">I got a cute face / chubby waist\u003c/a>“). She \u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\" target=\"_blank\" rel=\"noopener noreferrer\">embraced Afrofuturism\u003c/a> before it became part of the pop culture lexicon. She went overseas to Korea to work with \u003ca href=\"https://www.youtube.com/watch?v=8VjE4RHZAaI\" target=\"_blank\" rel=\"noopener noreferrer\">G-Dragon\u003c/a> before K-Pop charted on Billboard. And, from 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=hHcyJPTTn9w\" target=\"_blank\" rel=\"noopener noreferrer\">The Rain (Supa Dupa Fly)\u003c/a>” to 2019’s “\u003ca href=\"https://www.youtube.com/watch?v=9rOKdATrV4g\" target=\"_blank\" rel=\"noopener noreferrer\">Throw It Back\u003c/a>,” she produced, rapped, danced and sang at the highest level, and used her talents to make listeners feel like their best, most liberated selves.\u003c/p>\n\u003cp>Justin Timberlake was right, speaking in \u003ca href=\"https://www.youtube.com/watch?v=pjDz-B-m0Vw\" target=\"_blank\" rel=\"noopener noreferrer\">the testimonials\u003c/a> that played on MTV before Elliott took the VMA stage: her reception of the Video Vanguard Award at tonight’s ceremony was an incredibly belated accolade. And the technicolor celebration of self-love, blackness, immigrant identity, queerness and fatness on display throughout the awards proved that Elliott’s pop music philosophy—the rhythm’s potential to free us from shame so we can all celebrate our bodies, identities and selves—has come to fruition and then some in 2019.\u003c/p>\n\u003cp>On stage at the VMAs, Missy Elliott took fans through 20 years of career highlights in a dazzling seven-minute show filled with airtight choreography, CGI visuals and homages to her best-known music videos. She and her dancers revisited era-defining tracks like “Lose Control,” “Get Your Freak On” and “Work It,” which included a show-stopping dance number from \u003ca href=\"https://twitter.com/vmas/status/1166157038331867136?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Alyson Stoner\u003c/a>, the little girl in the video now all grown up.\u003c/p>\n\u003cp>Elliott’s iconic inflatable suit made an appearance during “The Rain (Supa Dupa Fly),” the outfit in which she defiantly, exaggeratedly took up space during \u003ca href=\"https://www.nytimes.com/1997/09/07/arts/the-model-who-invented-heroin-chic.html\" target=\"_blank\" rel=\"noopener noreferrer\">peak heroin chic\u003c/a> in the late ’90s. We saw the cornfields from the “Pass That Dutch” video transform from historical sites of exploitation into a party for black ingenuity. Set designs, costume changes and complex group choreography flowed from one track into the next so quickly and seamlessly that it was easy to forget to breathe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MTV/status/1166161090331500544?s=20\u003c/p>\n\u003cp>This was Elliott’s night, and her influence echoed throughout the VMAs before and after her performance. Lil Nas X’s rendition of “\u003ca href=\"https://twitter.com/MTVNEWS/status/1166151868776624128?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Panini\u003c/a>,” where he danced in a black-lit, neon robot outfit in a set reminiscent of \u003cem>Blade Runner\u003c/em>, recalled the cowboy-meets-cyborg getups Elliott wore in the “\u003ca href=\"https://www.youtube.com/watch?v=opkRF3UZSJw\" target=\"_blank\" rel=\"noopener noreferrer\">She’s a Bitch\u003c/a>” music video from 1999.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/lizzo/status/1166185191444033541?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>, whose work descents from Elliott’s fat-positive, sex-positive vision of self-love, and with whom Elliott collaborated this year on the thick-girl anthem “Tempo,” took the stage with dancers of all shapes and sizes in front of a giant, jiggling booty. In the testimonials that played before Elliott’s turn to take the stage, Lizzo teared up while recalling the magnitude of Elliott’s influence. And Normani’s impressively athletic choreography during her performance of “\u003ca href=\"https://twitter.com/MTV/status/1166182278701228034?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Motivation\u003c/a>” seemed inspired by Ciara—an artist Elliott developed and produced early on in her career.\u003c/p>\n\u003cp>https://twitter.com/LilNasX/status/1166193669302562823?s=20\u003c/p>\n\u003cp>Elliott and the Gen Z and millennial artists she’s influenced imbued the VMAs with a refreshing sense of joy missing on the show in recent years, and the air of celebration carried over into the rest of the night, as people of a wide variety of identities historically underrepresented on MTV got a chance to shine. Taylor Swift brought a gaggle of queer and trans artists on stage after winning the Video for Good award for “You Need to Calm Down,” and stepped aside as executive producer \u003ca href=\"https://www.etonline.com/todrick-hall-delivers-moving-words-for-taylor-swift-while-helping-her-accept-award-at-2019-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">Todrick Hall\u003c/a> gave the acceptance speech.\u003c/p>\n\u003cp>Performances from Ozuna, J Balvin and Bad Bunny (and J Balvin’s heartfelt speech when he accepted the Best Latin award with Rosalía for “Con Altura”) brimmed with Latinx pride. And the introduction of the new Best K-Pop category further attested to the evening’s celebration of many different cultural identities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Missy Elliott herself hasn’t publicly addressed all of these issues (for instance, she’s widely regarded as a queer icon, despite being completely private about her personal life). But she has clearly empowered by example. Her music’s message of acceptance and celebration came through loud and clear, reverberating through decades of pop until it reflected back at her on the 2019 VMA stage.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over two decades, Missy Elliott has created with her eyes and ears towards the future.\u003c/p>\n\u003cp>She was body positive before it was a marketing gimmick (“\u003ca href=\"https://www.youtube.com/watch?v=atIvKSfKDOA\" target=\"_blank\" rel=\"noopener noreferrer\">I got a cute face / chubby waist\u003c/a>“). She \u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\" target=\"_blank\" rel=\"noopener noreferrer\">embraced Afrofuturism\u003c/a> before it became part of the pop culture lexicon. She went overseas to Korea to work with \u003ca href=\"https://www.youtube.com/watch?v=8VjE4RHZAaI\" target=\"_blank\" rel=\"noopener noreferrer\">G-Dragon\u003c/a> before K-Pop charted on Billboard. And, from 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=hHcyJPTTn9w\" target=\"_blank\" rel=\"noopener noreferrer\">The Rain (Supa Dupa Fly)\u003c/a>” to 2019’s “\u003ca href=\"https://www.youtube.com/watch?v=9rOKdATrV4g\" target=\"_blank\" rel=\"noopener noreferrer\">Throw It Back\u003c/a>,” she produced, rapped, danced and sang at the highest level, and used her talents to make listeners feel like their best, most liberated selves.\u003c/p>\n\u003cp>Justin Timberlake was right, speaking in \u003ca href=\"https://www.youtube.com/watch?v=pjDz-B-m0Vw\" target=\"_blank\" rel=\"noopener noreferrer\">the testimonials\u003c/a> that played on MTV before Elliott took the VMA stage: her reception of the Video Vanguard Award at tonight’s ceremony was an incredibly belated accolade. And the technicolor celebration of self-love, blackness, immigrant identity, queerness and fatness on display throughout the awards proved that Elliott’s pop music philosophy—the rhythm’s potential to free us from shame so we can all celebrate our bodies, identities and selves—has come to fruition and then some in 2019.\u003c/p>\n\u003cp>On stage at the VMAs, Missy Elliott took fans through 20 years of career highlights in a dazzling seven-minute show filled with airtight choreography, CGI visuals and homages to her best-known music videos. She and her dancers revisited era-defining tracks like “Lose Control,” “Get Your Freak On” and “Work It,” which included a show-stopping dance number from \u003ca href=\"https://twitter.com/vmas/status/1166157038331867136?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Alyson Stoner\u003c/a>, the little girl in the video now all grown up.\u003c/p>\n\u003cp>Elliott’s iconic inflatable suit made an appearance during “The Rain (Supa Dupa Fly),” the outfit in which she defiantly, exaggeratedly took up space during \u003ca href=\"https://www.nytimes.com/1997/09/07/arts/the-model-who-invented-heroin-chic.html\" target=\"_blank\" rel=\"noopener noreferrer\">peak heroin chic\u003c/a> in the late ’90s. We saw the cornfields from the “Pass That Dutch” video transform from historical sites of exploitation into a party for black ingenuity. Set designs, costume changes and complex group choreography flowed from one track into the next so quickly and seamlessly that it was easy to forget to breathe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This was Elliott’s night, and her influence echoed throughout the VMAs before and after her performance. Lil Nas X’s rendition of “\u003ca href=\"https://twitter.com/MTVNEWS/status/1166151868776624128?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Panini\u003c/a>,” where he danced in a black-lit, neon robot outfit in a set reminiscent of \u003cem>Blade Runner\u003c/em>, recalled the cowboy-meets-cyborg getups Elliott wore in the “\u003ca href=\"https://www.youtube.com/watch?v=opkRF3UZSJw\" target=\"_blank\" rel=\"noopener noreferrer\">She’s a Bitch\u003c/a>” music video from 1999.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/lizzo/status/1166185191444033541?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>, whose work descents from Elliott’s fat-positive, sex-positive vision of self-love, and with whom Elliott collaborated this year on the thick-girl anthem “Tempo,” took the stage with dancers of all shapes and sizes in front of a giant, jiggling booty. In the testimonials that played before Elliott’s turn to take the stage, Lizzo teared up while recalling the magnitude of Elliott’s influence. And Normani’s impressively athletic choreography during her performance of “\u003ca href=\"https://twitter.com/MTV/status/1166182278701228034?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Motivation\u003c/a>” seemed inspired by Ciara—an artist Elliott developed and produced early on in her career.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Elliott and the Gen Z and millennial artists she’s influenced imbued the VMAs with a refreshing sense of joy missing on the show in recent years, and the air of celebration carried over into the rest of the night, as people of a wide variety of identities historically underrepresented on MTV got a chance to shine. Taylor Swift brought a gaggle of queer and trans artists on stage after winning the Video for Good award for “You Need to Calm Down,” and stepped aside as executive producer \u003ca href=\"https://www.etonline.com/todrick-hall-delivers-moving-words-for-taylor-swift-while-helping-her-accept-award-at-2019-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">Todrick Hall\u003c/a> gave the acceptance speech.\u003c/p>\n\u003cp>Performances from Ozuna, J Balvin and Bad Bunny (and J Balvin’s heartfelt speech when he accepted the Best Latin award with Rosalía for “Con Altura”) brimmed with Latinx pride. And the introduction of the new Best K-Pop category further attested to the evening’s celebration of many different cultural identities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Missy Elliott herself hasn’t publicly addressed all of these issues (for instance, she’s widely regarded as a queer icon, despite being completely private about her personal life). But she has clearly empowered by example. Her music’s message of acceptance and celebration came through loud and clear, reverberating through decades of pop until it reflected back at her on the 2019 VMA stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\u003c/p>\n\u003cp>https://youtu.be/ellK-CXh7B4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\n\u003cp>https://twitter.com/kellyclarkson/status/1150168164853882880\u003c/p>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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