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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/740695121/k-flay\">K.Flay\u003c/a> kicked off her musical career with experimental rap mixtapes like \u003cem>Suburban Rap Queen in 2003 \u003c/em>when she entered Stanford University. Since then, singer has dabbled in different styles, but retained a biting, rough-around-the-edges sound. She’s dropped such projects as \u003cem>I Stopped Caring in ’96 \u003c/em>and \u003cem>Life as a Dog \u003c/em>and her Grammy-nominated 2017 track “Blood In The Cut” is a raging strutter.\u003c/p>\n\u003cp>“I had this kind of peripatetic existence,” K.Flay says of her earlier music, much of it written right here in the Bay Area. “I didn’t live anywhere. I was on tour constantly. So, there was a real sense of displacement that I felt and I really was trying to reckon with in that period.”\u003c/p>\n\u003cp>But K.Flay’s latest album, \u003cem>Solutions\u003c/em>, has a different, somehow quieter, feel. A new softness colors one of the album’s lead singles, “Sister.”\u003c/p>\n\u003cp>“Sister,” unsurprisingly, talks about siblings. K.Flay explains that she has a brother and a sister, though they aren’t related by blood. Her parents split up when she was around 5 or 6, and her stepfather — her two siblings’ biological father — helped raise her and later adopted her.\u003c/p>\n\u003cp>https://youtu.be/7ZN5kYvuY6M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m super, super close with my family, and I think a lot about family, just because of the way my childhood played out,” K.Flay reflects. “I think it gave me time to consider, like — what is the role of blood and DNA? What is the role of nurture?”\u003c/p>\n\u003cp>On \u003cem>Every Where Is Some Where\u003c/em>, the 2017 predecessor to \u003cem>Solutions\u003c/em>, K.Flay also sang about family members in the song “Champagne” — but that album took a different approach to the subject.\u003c/p>\n\u003cp>“In a lot of ways, that record was about problems,” K.Flay says of \u003cem>Every Where Is Some Where\u003c/em>. “I think I wrote that in a space of heartbreak.”\u003c/p>\n\u003cp>In contrast, \u003cem>Solutions \u003c/em>reflects a more hopeful creative state. K.Flay describes how she worked on this album from a healthy, optimistic space. “I was falling in love; I was really taking care of myself for the first time in a long time. I think there’s an optimism, a cautious optimism, that’s inherent in a lot of those reckonings.”\u003c/p>\n\u003cp>“Sister” showcases that optimism and love in the form of sisterhood — which K.Flay describes as a gender-less concept to encapsulate compassionate connection and chosen family-building. Although the song originated from what K.Flay calls a feeling of “separateness” from her siblings, it grew into a vulnerable, inviting expression of warmth.\u003c/p>\n\u003cp>“This record, and the kind of lyrical challenge I gave to myself, was: Let me take these points of pain, these points of angst, these points of confusion and kind of, like, just pivot a little bit in the direction of optimism or hopefulness,” K.Flay says. “I got into the studio a couple months later and everything just sort of clicked, where I was like, ‘You know what? The thing I wanna say to my brother and sister, and the thing that I did say and I have said and it’s worked, is, ‘I wanna be your sister. Do you wanna be mine?'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Rosalind Faulkner contributed to the digital version of this story. Listen to the full aired conversation at the audio link\u003c/em>.\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": "\u003cp>The SoOakland crew is back at it again. The collective that brought Oakland events such as the Adult Prom and numerous house party events is doing something for all ages.\u003c/p>\n\u003cp>This Sunday, the \u003ca href=\"https://www.16thstreetstation.com/history\" target=\"_blank\" rel=\"noopener\">historic 16th Street Station\u003c/a> in West Oakland plays host to the annual \u003ca href=\"http://www.sooakland.com/sooakland-day-fest-2019\" target=\"_blank\" rel=\"noopener\">SoOakland DayFest\u003c/a>.\u003c/p>\n\u003cp>Three years after the City of Oakland proclaimed July 30th “SoOakland Day,” the group of Oakland-based movers and shakers—founded by \u003ca href=\"https://www.instagram.com/shaylabang1/\" target=\"_blank\" rel=\"noopener\">Shayla Jamerson\u003c/a>—is hosting a community event free for youth under 17 and seniors, and $10 for general admission. Attendees can expect over 70 vendors, folks selling food, and a kids zone with a back-to-school giveaway of over 400 free backpacks filled with materials for the new school year.\u003c/p>\n\u003cfigure id=\"attachment_13862585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-2-800x531.png\" alt=\"Attendees at a SoOakland event in West Oakland, 2016\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2.png 899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a SoOakland event in West Oakland, 2016. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music lineup includes Tiffany Gouche, Tota Shakur, Tessie, Rob Woods & Curb Service, Culture Shock, Lauren Dupree, Sazon Libre and poet Prentice Powell. And if this year is anything like past SoOakland events, there should be a few old-school cars on the scene, too. \u003ca href=\"http://www.sooakland.com/new-events/2019/8/4/sooakland-dayfest\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The SoOakland crew is back at it again. The collective that brought Oakland events such as the Adult Prom and numerous house party events is doing something for all ages.\u003c/p>\n\u003cp>This Sunday, the \u003ca href=\"https://www.16thstreetstation.com/history\" target=\"_blank\" rel=\"noopener\">historic 16th Street Station\u003c/a> in West Oakland plays host to the annual \u003ca href=\"http://www.sooakland.com/sooakland-day-fest-2019\" target=\"_blank\" rel=\"noopener\">SoOakland DayFest\u003c/a>.\u003c/p>\n\u003cp>Three years after the City of Oakland proclaimed July 30th “SoOakland Day,” the group of Oakland-based movers and shakers—founded by \u003ca href=\"https://www.instagram.com/shaylabang1/\" target=\"_blank\" rel=\"noopener\">Shayla Jamerson\u003c/a>—is hosting a community event free for youth under 17 and seniors, and $10 for general admission. Attendees can expect over 70 vendors, folks selling food, and a kids zone with a back-to-school giveaway of over 400 free backpacks filled with materials for the new school year.\u003c/p>\n\u003cfigure id=\"attachment_13862585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-2-800x531.png\" alt=\"Attendees at a SoOakland event in West Oakland, 2016\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2.png 899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a SoOakland event in West Oakland, 2016. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music lineup includes Tiffany Gouche, Tota Shakur, Tessie, Rob Woods & Curb Service, Culture Shock, Lauren Dupree, Sazon Libre and poet Prentice Powell. And if this year is anything like past SoOakland events, there should be a few old-school cars on the scene, too. \u003ca href=\"http://www.sooakland.com/new-events/2019/8/4/sooakland-dayfest\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\u003c/p>\n\u003cp>https://youtu.be/0KSOMA3QBU0\u003c/p>\n\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\u003c/p>\n\u003cp>https://youtu.be/QCcW-guAs_s\u003c/p>\n\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\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>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\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/0KSOMA3QBU0'\n title='//www.youtube.com/embed/0KSOMA3QBU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\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/QCcW-guAs_s'\n title='//www.youtube.com/embed/QCcW-guAs_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\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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"content": "\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>[aside postID='arts_13859988' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\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>\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\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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"content": "\u003cp>Since 1979, West Edge Opera has jumped all over the East Bay from one unlikely venue to another. This year, the company known for pushing the boundaries of opera has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. \u003c/p>\n\u003cp>But the location isn’t the most interesting thing about West Edge’s new season. For my money, it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the bleak 1996 Lars Von Trier film. The West Edge production stars Sara LeMesh as Bess McNeill, the young wife whose injured husband encourages her to sleep with other men due to his immobility; reviewing its premiere three years ago, the \u003cem>New York Times\u003c/em> praised its lush orchestration and “powerful, permeating mood.”\u003c/p>\n\u003cp>I don’t know anybody who rushes to defend Von Trier’s treatment of women, either in his films or \u003ca href=\"https://www.vanityfair.com/hollywood/2017/11/lars-von-trier-production-company-zentropa-allegations\" rel=\"noopener\" target=\"_blank\">behind the camera\u003c/a>. So, as if to offset \u003cem>Breaking the Waves\u003c/em>, West Edge’s season also includes Christoph Willibald Gluck’s \u003cem>Orfeo ed Euridice\u003c/em>, conducted, directed, choreographed, designed, and performed by women and non-binary artists. And rounding out the season is \u003cem>The Threepenny Opera\u003c/em>, with Maya Kherani as Polly Peachum (above) and Derek Chester as Mack the Knife. Something tells me that \u003cem>Threepenny\u003c/em>‘s story about class morality and capitalism will resonate extra strong on the Oakland shore, with the skyline of San Francisco as a backdrop.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 1979, West Edge Opera has jumped all over the East Bay from one unlikely venue to another. This year, the company known for pushing the boundaries of opera has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. \u003c/p>\n\u003cp>But the location isn’t the most interesting thing about West Edge’s new season. For my money, it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the bleak 1996 Lars Von Trier film. The West Edge production stars Sara LeMesh as Bess McNeill, the young wife whose injured husband encourages her to sleep with other men due to his immobility; reviewing its premiere three years ago, the \u003cem>New York Times\u003c/em> praised its lush orchestration and “powerful, permeating mood.”\u003c/p>\n\u003cp>I don’t know anybody who rushes to defend Von Trier’s treatment of women, either in his films or \u003ca href=\"https://www.vanityfair.com/hollywood/2017/11/lars-von-trier-production-company-zentropa-allegations\" rel=\"noopener\" target=\"_blank\">behind the camera\u003c/a>. So, as if to offset \u003cem>Breaking the Waves\u003c/em>, West Edge’s season also includes Christoph Willibald Gluck’s \u003cem>Orfeo ed Euridice\u003c/em>, conducted, directed, choreographed, designed, and performed by women and non-binary artists. And rounding out the season is \u003cem>The Threepenny Opera\u003c/em>, with Maya Kherani as Polly Peachum (above) and Derek Chester as Mack the Knife. Something tells me that \u003cem>Threepenny\u003c/em>‘s story about class morality and capitalism will resonate extra strong on the Oakland shore, with the skyline of San Francisco as a backdrop.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How the Bay Area's Sudanese Community Mobilized for the Revolution",
"headTitle": "How the Bay Area’s Sudanese Community Mobilized for the Revolution | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>arrowing” doesn’t come close to describing the scene in the Sudanese capital of \u003ca href=\"https://www.nytimes.com/interactive/2019/07/15/world/africa/sudan-revolution.html\" target=\"_blank\" rel=\"noopener\">Khartoum\u003c/a> last month. After \u003ca href=\"https://www.nytimes.com/2019/04/11/world/africa/sudan-omar-hassan-al-bashir.html\" target=\"_blank\" rel=\"noopener\">Omar al-Bashir\u003c/a>‘s 30-year rule came to an end in April following four months of protest, reigning security forces slaughtered and raped dozens of pro-democracy demonstrators, dumpling their bodies into the Nile on June 3.\u003c/p>\n\u003cp>Because the government ordered an internet blackout on the day of the massacre, the world may not have heard about it without the efforts of Sudanese expats around the world. Gleaning whatever updates they could from family members with landlines and VPNs, they flooded Instagram and Facebook with information, organized marches and called on their elected officials to speak out.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Not only in the U.S., but in Australia, New Zealand, Iceland—wherever there’s a Sudanese person, there was activism to support the revolution,” says Fremont organizer Gamila Abdelhalim, who credits the Sudanese diaspora for drumming up international pressure that led to a recent \u003ca href=\"https://www.npr.org/2019/07/17/742880454/civilians-and-military-leaders-sign-power-sharing-deal-in-sudan\" target=\"_blank\" rel=\"noopener\">power-sharing agreement\u003c/a> between the country’s military and civilian leaders. With \u003ca href=\"https://www.aljazeera.com/news/2019/07/sudan-paramilitary-forces-shoot-protesters-kill-man-190714140954754.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> of paramilitary forces killing protesters as recently as last week, the fight for justice is far from over. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13862178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg\" alt=\"The Bay Area's Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June's internet blackout in Sudan.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-160x241.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-768x1159.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-1020x1539.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-795x1200.jpeg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area’s Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June’s internet blackout in Sudan. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdelhalim protested in Khartoum while visiting for her daughter’s wedding in December, when gas and bread prices exploded and the first sit-ins began. She returned again in April to bring protesters food and art supplies, and to stock the sit-in pharmacy with medical necessities. Back at home in the United States, where she’s lived since 1996, she helped organize solidarity marches and rallies in San Francisco, Sacramento and Oakland. Her schedule hasn’t slowed down since.\u003c/p>\n\u003cp>“I’m not doing my laundry on time anymore,” she jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[pullquote size='large' citation='Gamila Abdelhalim']“Women are not only fighting the oppression of the government, they’re fighting the restrictions that are in place from culture, society and religion.”[/pullquote]\u003c/p>\n\u003cp>Much like the on-the-ground efforts in Sudan, it’s everyday people rather than career organizers who helm the ongoing protest movement in the Bay Area. Abdelhalim, by day a daycare and preschool owner and an immigration consultant, is the founder of a traditional Sudanese dance troupe called \u003ca href=\"https://www.facebook.com/shabbaldance/\" target=\"_blank\" rel=\"noopener\">Shabbal\u003c/a>, the members of which sprang into action alongside her. This Sunday, July 28, she facilitates an \u003ca href=\"https://www.facebook.com/events/352859038742349/\" target=\"_blank\" rel=\"noopener\">art bazaar and volleyball tournament\u003c/a> at Lake Merritt to raise money for the Ahfad Trauma Center in Omdurman, Sudan, which has been treating survivors of the massacre.\u003c/p>\n\u003cp>“Seeing my own parents and Gamila, my aunt, being so passionate brings me back to the reason they came here,” says Lina Salam, a recent UC Santa Cruz grad and Abdelhalim’s niece. “No one wants to leave their country, but they had to leave in a time of political and economic turmoil.”\u003c/p>\n\u003cfigure id=\"attachment_13862179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg\" alt=\"Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland's Cafe Sama.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland’s Cafe Sama. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a recent Sunday, Abdelhalim and Salam exchange warm greetings with friends and family members at Oakland’s Cafe Sama, where Sudanese-American artist and educator \u003ca href=\"https://www.shahnoorhussein.com/home\" target=\"_blank\" rel=\"noopener\">shah noor hussein\u003c/a> is hosting a free seminar about the revolution. hussein, who teaches at Laney College and UC Berkeley’s pre-college academy, is a member of House of Malico, an influential Oakland collective that throws events to uplift women and LGBTQ+ people of the African diaspora. (hussein spells their name in lowercase and uses they/them pronouns.)\u003c/p>\n\u003cp>“A big part of my personal call to action is calling in as many allies as possible to not just listen, but take their role in sharing the information, self-teaching and staying active,” hussein says.\u003c/p>\n\u003cp>The activists tell me that student protests kicked off the Sudanese revolution, and that there’s a spirit of intergenerational solidarity among citizens eager to see a civilian-led government. The same camaraderie is true, they say, of first- and second-generation Sudanese immigrants in the U.S. It’s certainly observable at the teach-in at Cafe Sama, where Salam arrives in a “Justice for Sudan” T-shirt and the millennial uniform of hoop earrings, checkered vans and black skinny jeans. Her aunt wears a flowing, aqua-blue \u003cem>thobe\u003c/em>, the traditional dress of Sudanese professional women and a symbol of the revolution.\u003c/p>\n\u003cp>In Khartoum and all over Sudan, an unprecedented number of women took to the streets, calling themselves \u003cem>kandakas\u003c/em>, a term for the Ancient Nubian queens who once ruled the Nile River region. \u003ca href=\"https://www.news18.com/news/buzz/kandaka-sudan-viral-symbol-womens-rights-protests-in-sudan-2095535.html\" target=\"_blank\" rel=\"noopener\">A photo\u003c/a> of a 22-year-old modern-day \u003cem>kandaka\u003c/em> in a white \u003cem>thobe\u003c/em>, standing on top of a car and leading protesters in a chant, went viral and became a symbol of the people’s power.\u003c/p>\n\u003cp>“Women are not only fighting the oppression of the government, they’re fighting the restrictions that are in place from culture, society and religion,” says Abdelhalim, adding that she defended her daughters against disapproving whispers while the family attended sit-ins in Khartoum.\u003c/p>\n\u003cfigure id=\"attachment_13862190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862190\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg\" alt=\"Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland's Cafe Sama on July 14.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland’s Cafe Sama on July 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Cafe Sama, about a dozen people of different ethnicities, most of them women in their 20s, gather around to listen to hussein’s talk as a playlist of Sudanese music wafts in over the sound of the espresso machine. Most of the non-Sudanese members of the group heard about the event through activist networks on Instagram; those of the diaspora planned it through a WhatsApp group chat, where the local Sudanese community has done much of its organizing.\u003c/p>\n\u003cp>During Sudan’s internet blackout, activists from the diaspora became the vital link between Sudanese demonstrators and international media. “It was six weeks of silence, I couldn’t talk to most of my cousins,” says hussein. “All of our information was coming through those few people who could get access to internet, mostly through VPNs.”\u003c/p>\n\u003cfigure id=\"attachment_13862191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg\" alt=\"Young protesters gather at a San Francisco rally to support the Sudanese revolution. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1200x795.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013.jpeg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young protesters gather at a San Francisco rally to support the Sudanese revolution. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activism has also brought the local community closer. hussein was raised mostly in Los Angeles and moved to the Bay Area in 2014 for a masters program in anthropology. “I’m kind of part of this middle generation, late 20s and early 30s, that doesn’t live with our parents,” they say. Though they didn’t grow up in the East Bay’s Sudanese enclave, based mostly in inland suburbs like Fremont, Hayward and Union City, their connections to it deepened as they’ve been in almost constant contact planning teach-ins and rallies.\u003c/p>\n\u003cp>“People have asked me a couple times, ‘What’s the group that’s organizing this?'” says hussein. “I’m like, ‘It’s the diaspora, bruh. All of us who live here.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>shah noor hussein and Gamila Abdelhalim’s photos and other artwork from the Sudanese diaspora are on view at \u003ca href=\"https://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Musuem’s\u003c/a> pop-up at \u003ca href=\"http://swansmarket.com/\" target=\"_blank\" rel=\"noopener\">Swan’s Market\u003c/a> in Oakland through Aug. 20.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Sudanese dance troupe Shabbal performs at Oakland’s Umoja Festival on Aug. 17, where they will also have an informational booth and opportunities to donate to massacre survivors in Sudan. Details \u003ca href=\"http://www.theumojafestival.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Gamila Abdelhalim speaks at the African Advocacy Network’s annual picnic in Golden Gate Park on July 27. Details \u003ca href=\"https://www.facebook.com/photo.php?fbid=10102815280946225&set=gm.10156996248755568&type=3&theater&ifg=1\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“H\u003c/span>arrowing” doesn’t come close to describing the scene in the Sudanese capital of \u003ca href=\"https://www.nytimes.com/interactive/2019/07/15/world/africa/sudan-revolution.html\" target=\"_blank\" rel=\"noopener\">Khartoum\u003c/a> last month. After \u003ca href=\"https://www.nytimes.com/2019/04/11/world/africa/sudan-omar-hassan-al-bashir.html\" target=\"_blank\" rel=\"noopener\">Omar al-Bashir\u003c/a>‘s 30-year rule came to an end in April following four months of protest, reigning security forces slaughtered and raped dozens of pro-democracy demonstrators, dumpling their bodies into the Nile on June 3.\u003c/p>\n\u003cp>Because the government ordered an internet blackout on the day of the massacre, the world may not have heard about it without the efforts of Sudanese expats around the world. Gleaning whatever updates they could from family members with landlines and VPNs, they flooded Instagram and Facebook with information, organized marches and called on their elected officials to speak out.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Not only in the U.S., but in Australia, New Zealand, Iceland—wherever there’s a Sudanese person, there was activism to support the revolution,” says Fremont organizer Gamila Abdelhalim, who credits the Sudanese diaspora for drumming up international pressure that led to a recent \u003ca href=\"https://www.npr.org/2019/07/17/742880454/civilians-and-military-leaders-sign-power-sharing-deal-in-sudan\" target=\"_blank\" rel=\"noopener\">power-sharing agreement\u003c/a> between the country’s military and civilian leaders. With \u003ca href=\"https://www.aljazeera.com/news/2019/07/sudan-paramilitary-forces-shoot-protesters-kill-man-190714140954754.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> of paramilitary forces killing protesters as recently as last week, the fight for justice is far from over. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13862178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg\" alt=\"The Bay Area's Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June's internet blackout in Sudan.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-800x1207.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-160x241.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-768x1159.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-1020x1539.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019-795x1200.jpeg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900019.jpeg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area’s Sudanese immigrant community was crucial to amplifying the voices of pro-democracy protesters during June’s internet blackout in Sudan. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdelhalim protested in Khartoum while visiting for her daughter’s wedding in December, when gas and bread prices exploded and the first sit-ins began. She returned again in April to bring protesters food and art supplies, and to stock the sit-in pharmacy with medical necessities. Back at home in the United States, where she’s lived since 1996, she helped organize solidarity marches and rallies in San Francisco, Sacramento and Oakland. Her schedule hasn’t slowed down since.\u003c/p>\n\u003cp>“I’m not doing my laundry on time anymore,” she jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like the on-the-ground efforts in Sudan, it’s everyday people rather than career organizers who helm the ongoing protest movement in the Bay Area. Abdelhalim, by day a daycare and preschool owner and an immigration consultant, is the founder of a traditional Sudanese dance troupe called \u003ca href=\"https://www.facebook.com/shabbaldance/\" target=\"_blank\" rel=\"noopener\">Shabbal\u003c/a>, the members of which sprang into action alongside her. This Sunday, July 28, she facilitates an \u003ca href=\"https://www.facebook.com/events/352859038742349/\" target=\"_blank\" rel=\"noopener\">art bazaar and volleyball tournament\u003c/a> at Lake Merritt to raise money for the Ahfad Trauma Center in Omdurman, Sudan, which has been treating survivors of the massacre.\u003c/p>\n\u003cp>“Seeing my own parents and Gamila, my aunt, being so passionate brings me back to the reason they came here,” says Lina Salam, a recent UC Santa Cruz grad and Abdelhalim’s niece. “No one wants to leave their country, but they had to leave in a time of political and economic turmoil.”\u003c/p>\n\u003cfigure id=\"attachment_13862179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg\" alt=\"Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland's Cafe Sama.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamila Abdelhalim (far right) and Lina Salam (second from left) listen at a teach-in about the Sudanese revolution at Oakland’s Cafe Sama. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n a recent Sunday, Abdelhalim and Salam exchange warm greetings with friends and family members at Oakland’s Cafe Sama, where Sudanese-American artist and educator \u003ca href=\"https://www.shahnoorhussein.com/home\" target=\"_blank\" rel=\"noopener\">shah noor hussein\u003c/a> is hosting a free seminar about the revolution. hussein, who teaches at Laney College and UC Berkeley’s pre-college academy, is a member of House of Malico, an influential Oakland collective that throws events to uplift women and LGBTQ+ people of the African diaspora. (hussein spells their name in lowercase and uses they/them pronouns.)\u003c/p>\n\u003cp>“A big part of my personal call to action is calling in as many allies as possible to not just listen, but take their role in sharing the information, self-teaching and staying active,” hussein says.\u003c/p>\n\u003cp>The activists tell me that student protests kicked off the Sudanese revolution, and that there’s a spirit of intergenerational solidarity among citizens eager to see a civilian-led government. The same camaraderie is true, they say, of first- and second-generation Sudanese immigrants in the U.S. It’s certainly observable at the teach-in at Cafe Sama, where Salam arrives in a “Justice for Sudan” T-shirt and the millennial uniform of hoop earrings, checkered vans and black skinny jeans. Her aunt wears a flowing, aqua-blue \u003cem>thobe\u003c/em>, the traditional dress of Sudanese professional women and a symbol of the revolution.\u003c/p>\n\u003cp>In Khartoum and all over Sudan, an unprecedented number of women took to the streets, calling themselves \u003cem>kandakas\u003c/em>, a term for the Ancient Nubian queens who once ruled the Nile River region. \u003ca href=\"https://www.news18.com/news/buzz/kandaka-sudan-viral-symbol-womens-rights-protests-in-sudan-2095535.html\" target=\"_blank\" rel=\"noopener\">A photo\u003c/a> of a 22-year-old modern-day \u003cem>kandaka\u003c/em> in a white \u003cem>thobe\u003c/em>, standing on top of a car and leading protesters in a chant, went viral and became a symbol of the people’s power.\u003c/p>\n\u003cp>“Women are not only fighting the oppression of the government, they’re fighting the restrictions that are in place from culture, society and religion,” says Abdelhalim, adding that she defended her daughters against disapproving whispers while the family attended sit-ins in Khartoum.\u003c/p>\n\u003cfigure id=\"attachment_13862190\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862190\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg\" alt=\"Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland's Cafe Sama on July 14.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_3222.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator shah noor hussein facilitates a teach-in about the Sudan revolution at Oakland’s Cafe Sama on July 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Cafe Sama, about a dozen people of different ethnicities, most of them women in their 20s, gather around to listen to hussein’s talk as a playlist of Sudanese music wafts in over the sound of the espresso machine. Most of the non-Sudanese members of the group heard about the event through activist networks on Instagram; those of the diaspora planned it through a WhatsApp group chat, where the local Sudanese community has done much of its organizing.\u003c/p>\n\u003cp>During Sudan’s internet blackout, activists from the diaspora became the vital link between Sudanese demonstrators and international media. “It was six weeks of silence, I couldn’t talk to most of my cousins,” says hussein. “All of our information was coming through those few people who could get access to internet, mostly through VPNs.”\u003c/p>\n\u003cfigure id=\"attachment_13862191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg\" alt=\"Young protesters gather at a San Francisco rally to support the Sudanese revolution. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-768x509.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1020x676.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013-1200x795.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/000069900013.jpeg 1545w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young protesters gather at a San Francisco rally to support the Sudanese revolution. \u003ccite>(shah noor hussein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Activism has also brought the local community closer. hussein was raised mostly in Los Angeles and moved to the Bay Area in 2014 for a masters program in anthropology. “I’m kind of part of this middle generation, late 20s and early 30s, that doesn’t live with our parents,” they say. Though they didn’t grow up in the East Bay’s Sudanese enclave, based mostly in inland suburbs like Fremont, Hayward and Union City, their connections to it deepened as they’ve been in almost constant contact planning teach-ins and rallies.\u003c/p>\n\u003cp>“People have asked me a couple times, ‘What’s the group that’s organizing this?'” says hussein. “I’m like, ‘It’s the diaspora, bruh. All of us who live here.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>shah noor hussein and Gamila Abdelhalim’s photos and other artwork from the Sudanese diaspora are on view at \u003ca href=\"https://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Musuem’s\u003c/a> pop-up at \u003ca href=\"http://swansmarket.com/\" target=\"_blank\" rel=\"noopener\">Swan’s Market\u003c/a> in Oakland through Aug. 20.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Sudanese dance troupe Shabbal performs at Oakland’s Umoja Festival on Aug. 17, where they will also have an informational booth and opportunities to donate to massacre survivors in Sudan. Details \u003ca href=\"http://www.theumojafestival.com/\" target=\"_blank\" rel=\"noopener\">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>\u003cem>Gamila Abdelhalim speaks at the African Advocacy Network’s annual picnic in Golden Gate Park on July 27. Details \u003ca href=\"https://www.facebook.com/photo.php?fbid=10102815280946225&set=gm.10156996248755568&type=3&theater&ifg=1\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Hardly Strictly 2019: Everything You Need to Know | KQED",
"content": "\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Sept. 3: \u003c/strong>\u003c/em>Hardly Strictly announced \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/updates/\" target=\"_blank\" rel=\"noopener\">new safety precautions\u003c/a> for this year’s festival in light of recent mass shootings that have \u003ca href=\"https://www.kqed.org/arts/13863343/music-festival-safety-mass-shootings\" target=\"_blank\" rel=\"noopener\">left festival-goers afraid\u003c/a> to attend large events. In contrast to previous years’ come-as-you-please vibe, there are now four official entrances on JFK and Transverse Drives, 30th Avenue and Fulton Street, JFK Drive and 36th Avenue and South Polo Field (here’s a \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/wp-content/themes/hsb/HSB19_map_entrances.pdf\" target=\"_blank\" rel=\"noopener\">map\u003c/a>).\u003c/p>\n\u003cp>The festival will also be fenced off, unlike in previous years, and gates open at 9am. Clear bags are required (you can find these at major retailers like Target, Amazon and Staples; many fast-fashion brands also carry clear purses). Coolers aren’t allowed anymore, and blankets and short-backed chairs will be subject to search.\u003c/p>\n\u003cp>“As the world changes, Hardly Strictly Bluegrass feels the need to respond, prioritizing safety over convenience,” festival organizers wrote in a statement. “We understand that these changes will make our event differ from years past, but are hopeful that our long-time fans will embrace these new rules and enjoy the performances as they always have.”\u003c/p>\n\u003cp>Organizers also announced the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/artists/\" target=\"_blank\" rel=\"noopener\">complete lineup\u003c/a>, which features surrealist R&B band Tank and the Bangas; indie rockers New Pornographers; Portland psych-folk rockers Y La Bamba; Oakland blues revivalist and Grammy winner Fantastic Negrito; Kronos Quartet performing the works of Pete Seeger with Brian Carpenter, Lee Knight, Meklit, Aoife O’Donovan and the San Francisco Girls Chorus; Summer-of-Love blues-rockers Hot Tuna; and San Francisco indie rock singer-songwriter Chuck Prophet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Aug. 8: \u003c/strong>\u003c/em>Led Zeppelin front man Robert Plant is the latest addition to Hardly Strictly’s 2019 lineup, as well as the celebrated all-woman mariachi band Flor de Toloache. The festival now also includes Country Music Hall of Famer Emmylou Harris, indie rockers Kurt Vile & the Violators, folk duo Mandolin Orange, Oakland roots rock band Whiskerman, folk singer-songwriter Mary Gauthier, funk band Pimps of Joytime, folk band the Wild Reeds and up-and-coming country singer Yola.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Aug. 1: \u003c/strong>\u003c/em>Hardly Strictly announced ten new acts on its lineup today. The festival now features traditional bluegrass band Dry Branch Fire Squad; country star Tanya Tucker; bluesy singer-songwriter Daniel Norgren; singer-songwriter Buddy Miller with fiddlers Dirk Powell and Stuart Duncan; charmingly plainspoken singer-songwriter John Craigie; Bay Area bluegrass band Hot Buttered Rum; Tuareg guitarist Mdou Moctar; roots rockers Black Joe Lewis & the Honeybears; bluegrass mandolinist Sierra Hull and up-and-coming Americana singer-songwriter Nikki Lane. Listen to a medley of phase two of the lineup \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/headline/hsb19-medley-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>July 25:\u003c/strong>\u003c/em> Last year’s \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/headline/hsb19-medley-1/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly\u003c/a> marked a turning point for the more-than-just-bluegrass music festival, with new curator Chris Porter replacing longtime booker Dawn Holliday, who co-founded the free weekend-long concert in 2001 with Warren Hellman.\u003c/p>\n\u003cp>The festival returns to Golden Gate Park for its 18th edition on Oct. 4–6, with the first part of its lineup announced today. If fans were worried about a drastic change in the acts booked for the festival, they needn’t be: this year’s artists are a mix of familiar faces and sounds.\u003c/p>\n\u003cp>Hardly Strictly mainstay Steve Earle is back, along with acoustic Americana duo Milk Carton Kids and a joint performance from indie-folk band Iron & Wine and Southwestern rockers Calexico, who recently released a collaborative album.\u003c/p>\n\u003cp>Ukrainian band DakhaBrakha, whose vocal-driven music melds Eastern European folk melodies and sun-drenched psych rock, will also perform, as well as Texas roots country crooner Hayes Carll, blues guitarist and singer Jackie Greene, twangy rock band Meat Puppets, Grammy-nominated R&B, blues and Americana star Bettye LaVette (whose career is undergoing a \u003ca href=\"https://www.rollingstone.com/music/music-features/bettye-lavette-things-have-changed-tour-soul-survivor-703016/\" target=\"_blank\" rel=\"noopener\">renaissance\u003c/a>), up-and-coming Nashville country star Margo Price, and UK folk-rock band the Waterboys. (Listen to Hardly Strictly’s medley of all the artists \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/headline/hsb19-medley-1/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>https://youtu.be/m0cme4CSrck\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hardly Strictly organizers also unveiled the schedule of “Out of the Park” concerts, taking place the week of the festival in venues all over the Bay Area. Hayes Carll performs at Sweetwater Music Hall in Mill Valley on Oct. 5; the same day, Meat Puppets hit the Ivy Room in Albany. On Oct. 6, Calexico and Iron & Wine play at the Mountain Winery in Saratoga. On Oct. 8-9, DakhaBrakha performs at Freight & Salvage in Berkeley. And the Waterboys play San Francisco’s Fillmore on Oct. 11.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Sept. 3: \u003c/strong>\u003c/em>Hardly Strictly announced \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/updates/\" target=\"_blank\" rel=\"noopener\">new safety precautions\u003c/a> for this year’s festival in light of recent mass shootings that have \u003ca href=\"https://www.kqed.org/arts/13863343/music-festival-safety-mass-shootings\" target=\"_blank\" rel=\"noopener\">left festival-goers afraid\u003c/a> to attend large events. In contrast to previous years’ come-as-you-please vibe, there are now four official entrances on JFK and Transverse Drives, 30th Avenue and Fulton Street, JFK Drive and 36th Avenue and South Polo Field (here’s a \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/wp-content/themes/hsb/HSB19_map_entrances.pdf\" target=\"_blank\" rel=\"noopener\">map\u003c/a>).\u003c/p>\n\u003cp>The festival will also be fenced off, unlike in previous years, and gates open at 9am. Clear bags are required (you can find these at major retailers like Target, Amazon and Staples; many fast-fashion brands also carry clear purses). Coolers aren’t allowed anymore, and blankets and short-backed chairs will be subject to search.\u003c/p>\n\u003cp>“As the world changes, Hardly Strictly Bluegrass feels the need to respond, prioritizing safety over convenience,” festival organizers wrote in a statement. “We understand that these changes will make our event differ from years past, but are hopeful that our long-time fans will embrace these new rules and enjoy the performances as they always have.”\u003c/p>\n\u003cp>Organizers also announced the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/artists/\" target=\"_blank\" rel=\"noopener\">complete lineup\u003c/a>, which features surrealist R&B band Tank and the Bangas; indie rockers New Pornographers; Portland psych-folk rockers Y La Bamba; Oakland blues revivalist and Grammy winner Fantastic Negrito; Kronos Quartet performing the works of Pete Seeger with Brian Carpenter, Lee Knight, Meklit, Aoife O’Donovan and the San Francisco Girls Chorus; Summer-of-Love blues-rockers Hot Tuna; and San Francisco indie rock singer-songwriter Chuck Prophet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Aug. 8: \u003c/strong>\u003c/em>Led Zeppelin front man Robert Plant is the latest addition to Hardly Strictly’s 2019 lineup, as well as the celebrated all-woman mariachi band Flor de Toloache. The festival now also includes Country Music Hall of Famer Emmylou Harris, indie rockers Kurt Vile & the Violators, folk duo Mandolin Orange, Oakland roots rock band Whiskerman, folk singer-songwriter Mary Gauthier, funk band Pimps of Joytime, folk band the Wild Reeds and up-and-coming country singer Yola.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update, Aug. 1: \u003c/strong>\u003c/em>Hardly Strictly announced ten new acts on its lineup today. The festival now features traditional bluegrass band Dry Branch Fire Squad; country star Tanya Tucker; bluesy singer-songwriter Daniel Norgren; singer-songwriter Buddy Miller with fiddlers Dirk Powell and Stuart Duncan; charmingly plainspoken singer-songwriter John Craigie; Bay Area bluegrass band Hot Buttered Rum; Tuareg guitarist Mdou Moctar; roots rockers Black Joe Lewis & the Honeybears; bluegrass mandolinist Sierra Hull and up-and-coming Americana singer-songwriter Nikki Lane. Listen to a medley of phase two of the lineup \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/headline/hsb19-medley-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>July 25:\u003c/strong>\u003c/em> Last year’s \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/headline/hsb19-medley-1/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly\u003c/a> marked a turning point for the more-than-just-bluegrass music festival, with new curator Chris Porter replacing longtime booker Dawn Holliday, who co-founded the free weekend-long concert in 2001 with Warren Hellman.\u003c/p>\n\u003cp>The festival returns to Golden Gate Park for its 18th edition on Oct. 4–6, with the first part of its lineup announced today. If fans were worried about a drastic change in the acts booked for the festival, they needn’t be: this year’s artists are a mix of familiar faces and sounds.\u003c/p>\n\u003cp>Hardly Strictly mainstay Steve Earle is back, along with acoustic Americana duo Milk Carton Kids and a joint performance from indie-folk band Iron & Wine and Southwestern rockers Calexico, who recently released a collaborative album.\u003c/p>\n\u003cp>Ukrainian band DakhaBrakha, whose vocal-driven music melds Eastern European folk melodies and sun-drenched psych rock, will also perform, as well as Texas roots country crooner Hayes Carll, blues guitarist and singer Jackie Greene, twangy rock band Meat Puppets, Grammy-nominated R&B, blues and Americana star Bettye LaVette (whose career is undergoing a \u003ca href=\"https://www.rollingstone.com/music/music-features/bettye-lavette-things-have-changed-tour-soul-survivor-703016/\" target=\"_blank\" rel=\"noopener\">renaissance\u003c/a>), up-and-coming Nashville country star Margo Price, and UK folk-rock band the Waterboys. (Listen to Hardly Strictly’s medley of all the artists \u003ca href=\"http://www.hardlystrictlybluegrass.com/2019/headline/hsb19-medley-1/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m0cme4CSrck'\n title='//www.youtube.com/embed/m0cme4CSrck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Hardly Strictly organizers also unveiled the schedule of “Out of the Park” concerts, taking place the week of the festival in venues all over the Bay Area. Hayes Carll performs at Sweetwater Music Hall in Mill Valley on Oct. 5; the same day, Meat Puppets hit the Ivy Room in Albany. On Oct. 6, Calexico and Iron & Wine play at the Mountain Winery in Saratoga. On Oct. 8-9, DakhaBrakha performs at Freight & Salvage in Berkeley. And the Waterboys play San Francisco’s Fillmore on Oct. 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would",
"headTitle": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would | KQED",
"content": "\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>[aside postID='arts_13857471' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-non-binary-person-using-a-laptop-at-work-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-5.jpeg' target='_blank']\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>[aside postID='arts_13855172' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1066489488_wide-61db819e4bcc6427baa4a059bc65430dc162ed9a-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\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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"excerpt": "Since launching stateside in 2011, the green logo of Spotify has come to be, almost like Kleenex, synonymous with the weird new world of streaming. So, dozens of billions of dollars later, what's up?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\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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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Gray Area Festival\u003c/strong>: There’s a lot to love about this year’s festival exploring the intersection of art and technology. But the star attraction is the ISM Hexadome, an immersive Buckminster Fuller-like dome of music and visuals, with pieces by Thom Yorke, Holly Herndon, Suzanne Ciani, Ben Frost and more. It runs Thursday–Sunday, July 25–28, at the Gray Area Theater and Pier 70. \u003ca href=\"https://grayareafestival.io/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Dead Nuts: A Search for the Ultimate Machined Object’\u003c/strong>: What is the ultimate machined object? Something so accurate in its design, so aesthetically pleasing and functional that it rises to the top? This fun, satisfying exhibit includes simple items like the ball bearing alongside highly complicated feats of engineering, like airplane engines and analog microprocessors. It opens Saturday, July 27, at the Museum of Craft and Design. \u003ca href=\"https://sfmcd.org/deadnuts/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>KMEL Summer Jam 2019\u003c/strong>: The Oracle Arena’s been quiet since the Warriors left, but it’s about to get loud again with this annual party featuring rap stars YG, Lil Baby, City Girls and more. But by far the main attraction is Megan Thee Stallion, a sex-positive rising star whose talent and dynamism are poised to outlast the current “hot girl summer” meme she inspired. That’s Sunday, July 28, at the Oracle Arena. \u003ca href=\"https://kmel.iheart.com/featured/kmel-summer-jam/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘The Neverending Story’\u003c/strong>: Our cheap North Bay date this week is this 1980s fantasy classic, presented in a Petaluma theater that’s over 100 years old. When it comes to reliving the adventures of Atreyu and Falkor, you can’t go wrong for just $8. It screens Friday, Aug. 2, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=301834\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Kelly Stoltz\u003c/strong>: You might recognize Kelly Stoltz from working behind the counter at the Market Street record store Grooves, where hundreds of musical influences regularly seep into his ears. While his music itself is a pleasing blend of the familiar and the new, we’re also recommending this show for the beautiful outdoor setting in a redwood grove. Stoltz performs, with Magic in the Other opening, on Thursday, Aug. 1, at the UC Botanical Garden. \u003ca href=\"https://botanicalgarden.berkeley.edu/summer-concerts-2019/august-1-2019\" 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 the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Gray Area Festival\u003c/strong>: There’s a lot to love about this year’s festival exploring the intersection of art and technology. But the star attraction is the ISM Hexadome, an immersive Buckminster Fuller-like dome of music and visuals, with pieces by Thom Yorke, Holly Herndon, Suzanne Ciani, Ben Frost and more. It runs Thursday–Sunday, July 25–28, at the Gray Area Theater and Pier 70. \u003ca href=\"https://grayareafestival.io/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Dead Nuts: A Search for the Ultimate Machined Object’\u003c/strong>: What is the ultimate machined object? Something so accurate in its design, so aesthetically pleasing and functional that it rises to the top? This fun, satisfying exhibit includes simple items like the ball bearing alongside highly complicated feats of engineering, like airplane engines and analog microprocessors. It opens Saturday, July 27, at the Museum of Craft and Design. \u003ca href=\"https://sfmcd.org/deadnuts/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>KMEL Summer Jam 2019\u003c/strong>: The Oracle Arena’s been quiet since the Warriors left, but it’s about to get loud again with this annual party featuring rap stars YG, Lil Baby, City Girls and more. But by far the main attraction is Megan Thee Stallion, a sex-positive rising star whose talent and dynamism are poised to outlast the current “hot girl summer” meme she inspired. That’s Sunday, July 28, at the Oracle Arena. \u003ca href=\"https://kmel.iheart.com/featured/kmel-summer-jam/\" 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>‘The Neverending Story’\u003c/strong>: Our cheap North Bay date this week is this 1980s fantasy classic, presented in a Petaluma theater that’s over 100 years old. When it comes to reliving the adventures of Atreyu and Falkor, you can’t go wrong for just $8. It screens Friday, Aug. 2, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=301834\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Kelly Stoltz\u003c/strong>: You might recognize Kelly Stoltz from working behind the counter at the Market Street record store Grooves, where hundreds of musical influences regularly seep into his ears. While his music itself is a pleasing blend of the familiar and the new, we’re also recommending this show for the beautiful outdoor setting in a redwood grove. Stoltz performs, with Magic in the Other opening, on Thursday, Aug. 1, at the UC Botanical Garden. \u003ca href=\"https://botanicalgarden.berkeley.edu/summer-concerts-2019/august-1-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rainbows, Frogs, Dogs, And 'The Muppet Movie' Soundtrack At 40",
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"content": "\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Muppet Movie \u003c/em>is 40 now. And I could tell you that makes me feel old, but it doesn’t. It oddly makes me feel just right. The music has been with me from when I was little until right now, and I can still listen to it and discover new things. How could you not? It has “Rainbow Connection” in it.\u003c/p>\n\u003cp>You probably know all this, but \u003cem>The Muppet Movie \u003c/em>is a musical, and “Rainbow Connection” is what musical theater people would call its “I Want” song. It’s an unusual one. Often, characters who want things in a musical, even if they’re ultimately on a quest of self-discovery, express a desire for adventure and exploration (\u003cem>The Little Mermaid\u003c/em>‘s “Part Of Your World”) or greatness (\u003cem>Hamilton\u003c/em>‘s “My Shot”) or comfort (\u003cem>My Fair Lady\u003c/em>‘s “Wouldn’t It Be Loverly”). At their most philosophical, they tend toward restless searches for freedom from other people’s expectations (\u003cem>Pippin\u003c/em>‘s “Corner of the Sky”).\u003c/p>\n\u003cp>This one is a little different. We swoop through the sky, through clouds and a rainbow, until we hear the banjo phrase — \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk — \u003c/em>that at first goes unanswered. And as much as it will make you feel like a college first-year with an altered mind lying on a dorm room floor to realize it, the song that follows is really pretty … \u003cem>deep\u003c/em>. Kermit longs not for stardom and riches, though he will embark on a quest for both. His “I Want” song is about hoping to learn that belief in the power of uncertain and ethereal things — rainbows, for instance — is not unfounded.\u003c/p>\n\u003cp>“Who said that every wish\u003cbr>\nWould be heard and answered\u003cbr>\nWhen wished on the morning star?\u003cbr>\nSomebody thought of that\u003cbr>\nAnd someone believed it\u003cbr>\nAnd look what it’s done so far\u003cbr>\nWhat’s so amazing that keeps us stargazing?\u003cbr>\nAnd what do we think we might see?\u003cbr>\nSomeday we’ll find it\u003cbr>\nThe rainbow connection\u003cbr>\nThe lovers, the dreamers, and me.”\u003c/p>\n\u003cp>His “I Want” is not just for his own dreams to come true. It’s for those who believe in the enchanting myths that we’ve all written together to be proved right. Someday, he hopes, we will find a thread that makes all this make sense. You know. \u003cem>Life\u003c/em>. It’s almost a “We Want” song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hey, pass me a beer, dude.\u003c/p>\n\u003cp>Of course, this is not what I heard as a child who was eight years old when this movie came out, right in the sweet spot of its generational wallop. As a kid, I heard a little ditty about rainbows, lovers, dreamers, wishes, \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>, and the way “amazing” and “stargazing” sound so pretty pushed so close together. My sister and I had this soundtrack album, and we listened to it exhaustively (and, to my parents, probably exhaustingly). Not only that, but we hauled out the family manual typewriter and pecked out all the lyrics. This was our version of trying to crawl inside music, I think, to see what was going on. There were words on the album we most definitely either didn’t understand or had to have explained to us: I don’t think we knew what “aurora borealis” meant, let alone why “Aurora borealis shining down on Dallas” was a trippy lyric in “Can You Picture That?”, part of the oeuvre of the rock band Dr. Teeth and the Electric Mayhem.\u003c/p>\n\u003cp>And by the way, I’m certain I didn’t understand what a funny band name “Dr. Teeth and the Electric Mayhem” is.\u003c/p>\n\u003cp>This is, in large part, the genius of both the music and the movie. It’s a sophisticated piece of art, brilliantly made, that has complicated themes and winky jokes that are for parents. But at the same time, it not only appeals to kids, but almost \u003cem>teaches \u003c/em>kids how to watch movies and how to listen to music.\u003c/p>\n\u003cp>That music, in this case, comes from Paul Williams and Kenneth Ascher. Williams has found himself maybe best remembered for this contribution to the world, despite the fact that he wrote or co-wrote a truckload of music, especially popular stuff from the ’70s: “We’ve Only Just Begun,” “Just An Old-Fashioned Love Song,” “Evergreen,” and “Rainy Days and Mondays,” among others. He even wrote the lyrics to the theme song from \u003cem>The Love Boat\u003c/em>.\u003c/p>\n\u003cp>(Allow me to take a moment to recommend most highly a documentary called \u003cem>Paul Williams Still Alive\u003c/em>, which \u003ca href=\"https://www.npr.org/series/pop-culture-happy-hour/2012/03/12/148440196/sxsw-film-paul-williams-still-alive-brings-the-filmmaker-into-the-picture\">I wrote about in 2012\u003c/a>, and which is currently available streaming on Amazon Prime Video or for rent elsewhere.)\u003c/p>\n\u003cp>Williams and Ascher aren’t afraid to give you songs that are packed with jokes, often a combination of kid-level and not. In the barroom piano number “I Hope That Somethin’ Better Comes Along,” Kermit and Rowlf the Dog share their woes about women, and there are both dog puns and frog jokes. Women get “under your collar,” says Rowlf. “It’s fun when they’re fetching and agree to see an etching that you keep at your lily pad,” muses Kermit. “What could be better than a saucy Irish setter when puppy love comes on strong?” And my personal favorite, “A lover and wife gives you a new leash on life.” (To which Kermit asks, “Was that a new \u003cem>leash \u003c/em>on life?”, a joke I’m sure I did not understand at eight even with the frog pointing it out — and one that does not even appear in the film, which shortens that song considerably.)\u003c/p>\n\u003cp>The whole album walks a line between sophistication and silliness; profundity and playfulness. And all of it seems designed to draw kids into a story they will love and gradually learn to understand. Several songs include what you might call “singalong” elements, where you hear characters singing along with the music, even when there are no words. Not in the same way as a carefully chosen \u003ca href=\"https://www.youtube.com/watch?v=xWQFX3VhVWM\">“hey la”\u003c/a> refrain like you might hear in pop music, but more like the nonsense you might make up as a kid. You know, like \u003cem>dunk-a-dunk-a-dunk-a dunk-a-dunk\u003c/em>. It happens at the end of “Rainbow Connection” when Kermit sings, “Laaa da da deeee, da da dooo, la daa da da da dee da doo.”\u003c/p>\n\u003cp>Maybe my favorite example is in the road-trip song “Movin’ Right Along” that Fozzie Bear and Kermit sing together. The first time you hear the chorus, they sing, “Movin’ right along,” and then there are two beats accompanied by a banjo strum, like \u003cem>dig-a-dum, dig-a-dum\u003c/em>. But then next time you hear it, Kermit sings along with his own banjo. He sings, “Movin’ right along, dig-a-dum, dig-a-dum.” It happens, too, when \u003ca href=\"https://www.youtube.com/watch?v=3BqqYaEM2mA\">Fozzie sings “America The Beautiful.”\u003c/a> He sings, “America, America, God shed his grace on thee,” and then as if he simply can’t help it, he sings along, “Bup-bup-bup-buh!”, right along with the swelling music.\u003c/p>\n\u003cp>Kids are musical empaths, for lack of a better term. They’re not just listening to the music; they’re often trying to make it at the same time. They want to sing along, drum along, wave their arms — they want to be the music maker. They want to painstakingly clack-clack-clack the words onto a page in a pantomime of writing lyrics.\u003c/p>\n\u003cp>And in \u003cem>The Muppet Movie\u003c/em>, the avatars on the screen are both making the music and hearing the music. Fozzie hears the orchestra swelling. Kermit noodles around with nonsense words at the end of his own big number. This is a kid-friendly entry point into movie music and music in general.\u003c/p>\n\u003cp>Fozzie’s rendition of “America The Beautiful” raises another delicate matter, which is that he’s not particularly in tune. Frank Oz, as Fozzie, just lets it rip. In sharp contrast to Disney animated films, for instance, where if you don’t have a perfect singing voice they will have the music performed by someone who does, Muppet music stays in character. Fozzie belts it out, just like you do, and while Oz can sing much closer to on key, even while affecting very different character voices (as he does for most of Miss Piggy’s “Never Before, Never Again”), it’s not relevant to this performance. Fozzie is not sweating pitch. And his stuff is still great — listenable, re-listenable, hummable, singable. The point of being moved to offer a rendition of “America The Beautiful” in the car, the film posits, is to do it at the top of your lungs. Some singing is meant to be pretty, and some just deeply felt. Again: it’s teaching kids how to relate to music in a lot of different ways.\u003c/p>\n\u003cp>And when music itself is a character expression, it can also be a joke. I admit to being endlessly entertained — perhaps too entertained — by Animal, the rock band drummer (and another Oz creation) who never says much more than “DRUUUUMS!” or “WOMAAAAN!” In “Can You Picture That?”, late in the song, the band is singing the kind of call-and-response section where they all sing “Can you picture,” and then different lines follow. (“Can you picture? You gotta see it in your mind!/Can you picture what’s quick and easy to find?”) If you listen carefully, you can see that Frank Oz’s almost tuneless growl is there in the chorus as Animal, singing (essentially) “CAAAAA YAAAA PICKCHAAAAAA.” It’s so, so funny, and you’d barely notice it listening to the album unless you are, like me, an Animal partisan.\u003c/p>\n\u003cp>And yet, there are songs on the album that are just searching and beautiful and thoughtful, ones that go back to that “Rainbow Connection” mood. “I’m Going To Go Back There Someday” is Gonzo’s song as he looks at the night sky, reminiscing about being accidentally set adrift hanging onto a bunch of balloons. Even after he’s been rescued, he can’t forget the experience: “You can just visit, but I plan to stay; I’m going to go back there someday.” This is a startlingly abstract, melancholy moment in the middle of a road movie, complete with a lonesome cowboy harmonica and a sense that what we are able to see and know on earth is always going to be less than what we could see from anywhere else.\u003c/p>\n\u003cp>As the film approaches its finale, the characters get their big break — from Orson Welles, no less. (In this and some other cases, the big-name cameos in the film operate not only as treats for parents, but as a gentle meta-commentary on who these figures were in the larger celebrity universe at the time, as when Steve Martin appears as an incessantly sarcastic waiter.) They work on their movie, and they begin to perform what seems like a classic finale song of satisfaction called “The Magic Store,” which traces the path from weird, misunderstood kid to person (or frog, or pig, or bear, or dog, or whatever Gonzo is) with a shot at fame. “Somebody out there loves you,” they sing, “Stands up and hollers for more; You’ve found a home at the magic store.”\u003c/p>\n\u003cp>But just as this is happening, an accident destroys the set, which collapses around the collected Muppets. A hole in the roof, though, reveals — yes — a rainbow. And as everyone gawps at the rainbow, Kermit turns to the camera and tells us what he’s learned, in a moment that gives me chills every single time, to this day:\u003c/p>\n\u003cp>“Life’s like a movie\u003cbr>\nWrite your own ending”\u003c/p>\n\u003cp>These two lines are sung to sound suspended and haunting, two notes only a half-step apart, bumping up against each other. But then on the next phrase, the rest of his friends join in the song, and the piano stops doubling his melody and starts giving him an ever so gently jaunty one-two, one-two:\u003c/p>\n\u003cp>“Keep believing\u003cbr>\nKeep pretending”\u003c/p>\n\u003cp>We pull back to a shot of hundreds of Muppets singing, and as the song ends — now it’s “the lovers, the dreamers and you,” of course — you get another taste of movie music as it always is and always must be. Because the last thing you hear is the timpani. BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM-BUM!\u003c/p>\n\u003cp>It’s movie music that knows it’s movie music, in the same way that the film observes such a porous boundary between the movie you’re watching and the movie the Muppets are making that at one point, Dr. Teeth and the Electric Mayhem find their friends by consulting a copy of the script. It’s not even breaking the fourth wall; it’s sort of breaking the pit under the stage.\u003c/p>\n\u003cp>Perhaps puppetry — Muppetry? — has changed less in less obvious ways than animation in the last 40 years. Maybe that’s why it’s hard for me to believe an updated \u003cem>Muppet Movie \u003c/em>(not other Muppet movies, but a remake of this one) would be anything except just … this. It doesn’t need photorealism or fresh movie stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That banjo is already calling.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ken Burns, the prolific documentary filmmaker, addressed roughly 100 inmates at San Quentin State Prison on Wednesday with a message about redemption, destigmatizing incarceration and country music.\u003c/p>\n\u003cp>Country star Merle Haggard, Burns explained, was once reluctant to acknowledge his stint at prisons including San Quentin, fearful it would hurt his professional reputation. But Johnny Cash, well-known for concert recordings at Folsom State Prison and San Quentin, urged Haggard to be open about his time behind bars, and to draw on his experiences.\u003c/p>\n\u003cp>What Cash knew, and country music affirms, Burns said, is that “the value of a human being does not end when you walk in the front door of a place like this,” adding, “I know I’m preaching to the choir.”\u003c/p>\n\u003cfigure id=\"attachment_13862094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg\" alt=\"Rahsaan Thomas, Ear Hustle co-host and San Quentin News contributor, speaks with Ken Burns. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1555.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rahsaan Thomas, ‘Ear Hustle’ co-host and San Quentin News contributor, speaks with Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The occasion was a preview of \u003cem>Country Music\u003c/em>, Burns’ forthcoming eight-part, 16-hour series on the “uniquely American art form.” He played clips from the series, focused on Cash and Haggard’s ties to California’s penal system, before fielding questions from Rahsaan Thomas, “inside” co-host of \u003cem>Ear Hustle\u003c/em> and a contributor to \u003cem>San Quentin News\u003c/em>, plus other incarcerated audience members. \u003cem>Country Music\u003c/em> airs on PBS stations, including KQED, from Sept. 15–25.\u003c/p>\n\u003cp>The event, which general population inmates attended voluntarily, occurred in a 373-capacity protestant chapel next to a neatly landscaped courtyard where men in blue denim mowed lawns. In addition to Cash, the prison has hosted musical acts including Metallica, Crime and, most recently, Queens of the Stone Age.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clips, together running a half hour, followed Haggard from his impoverished Central Valley upbringing to his time in prison (he witnessed Cash’s performance at San Quentin in 1959, while an inmate), and the development of his “outlaw” persona. Cash, meanwhile, is seen struggling with methamphetamine addiction before the concert recordings at Folsom and San Quentin draw acclaim and restart his career.\u003c/p>\n\u003cfigure id=\"attachment_13862096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg\" alt=\"Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to Country Music writer and co-producer Dayton Duncan (R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curly Ray Martin (L), who once shared a cell with Merle Haggard, sits next to ‘Country Music’ writer and co-producer Dayton Duncan (R). \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dayton Duncan, \u003cem>Country Music\u003c/em>‘s writer and co-producer who took questions alongside Burns and co-producer Julie Dunfey, described San Quentin as central to Haggard’s story. “You know, how important was Valley Forge to George Washington?” he said.\u003c/p>\n\u003cp>Duncan, choking up, then acknowledged the presence of an 80-year-old inmate named Curly Ray Martin, who once shared a cell with Haggard. “Merle taught me how to play bass,” said Martin, who performed with West Coast artists such as Rose Maddox before being incarcerated 52 years ago. “Listenin’ to Merle in here, his songs, everybody knew he was destined to be a big star,” he said.\u003c/p>\n\u003cp>Thomas, who chatted with reporters about Robert Mueller’s congressional testimony that morning (“You’d be surprised by the political savvy on the yard,” he said), brought up Burns’ 2012 documentary \u003cem>The Central Park Five\u003c/em>, about five teenagers wrongly imprisoned after being coerced to confess to rape in 1989. Thomas asked the filmmaker about his views on criminal-justice reform.\u003c/p>\n\u003cfigure id=\"attachment_13862095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg\" alt=\"San Quentin News reporters interview Ken Burns.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/IMG_1660.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Quentin News reporters interview Ken Burns. \u003ccite>(Geraldine Montes/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burns responded that interrogation practices deserve scrutiny. Mentioning \u003cem>College Behind Bars\u003c/em>, a forthcoming Lynn Novick documentary he executive produced, Burns stressed the role of education in reducing recidivism. “This is the time,” he said, noting such reforms have bipartisan support. “It can’t come too soon.”\u003c/p>\n\u003cp>More than a dozen incarcerated audience members stepped up to a microphone to ask questions, almost all of them professing intimate knowledge of Burns’ work. (PBS is one of few channels available in prison.) One of them, a FirstWatch filmmaker, noted the “Ken Burns effect,” a style of panning and zooming, available to use through iMovie.\u003c/p>\n\u003cp>Laughing, Burns replied, “You have to thank Steve Jobs for that one.”\u003c/p>\n\u003cp>Anthony Evans, an inmate, asked how the film addresses the “symbiotic relationship between country and the blues.” Duncan responded that the documentary traces the international roots of country, and examines the former market division between “race” and “hillbilly” music. Burns similarly noted the debate over how to categorize Lil Nas X’s “Old Town Road” reflects how black people’s contributions to country have long been minimized or ignored.\u003c/p>\n\u003cp>“It’s appropriate we’re in a chapel,” Burns said. “I want to share with you the gospel of country music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Vallejo, ‘Bureaucratic Bullying’ Threatens a Nature Preserve and Unlikely Arts Hub",
"headTitle": "In Vallejo, ‘Bureaucratic Bullying’ Threatens a Nature Preserve and Unlikely Arts Hub | KQED",
"content": "\u003cp>On a recent Sunday morning, Myrna Hayes reclined in an upholstered chair beneath a chirping swallow nest on the stoop of what was once a munitions bunker on Vallejo’s Mare Island. She looked out at some 200 acres of scrub and structures overrun by vegetation, former naval facilities she’s helped restore and manage as a nature preserve for the past 25 years.\u003c/p>\n\u003cp>“It’s like the Presidio,” Hayes said. “But gone wild.”\u003c/p>\n\u003cp>As head of the shoestring nonprofit overseeing the Mare Island Shoreline Heritage Preserve, which opened to the public in 2008 and overlooks the San Pablo Bay and Carquinez Strait, Hayes and her fellow volunteers facilitate events and manage a dozen campsites here. They also run the depot-turned-visitor-center, where artifacts of natural and naval history commingle with hand-painted signs soliciting donations.\u003c/p>\n\u003cp>Hayes, 63, has a familiar rapport with the preserve’s regulars. As we spoke she greeted Richard, who built yurts on two of the campsites, and then Rina, a camper who was returning some rags she’d taken home to wash. Hayes brings her conviction as a conservationist to the preserve, familiar with the island’s endemic species, and also her vision as a sort of “curator,” as supporters call her, who encourages the preserve’s appeal to naturalists and artists alike. “It’s riveting for me to watch this place as a real-time play,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13861896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg\" alt=\"Once the largest naval base on the West Coast, Mare Island is dramatic redevelopment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Once the largest naval base on the West Coast, Mare Island is undergoing dramatic redevelopment. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.re-sound.net/\">Re:Sound\u003c/a>, a concert series of experimental electronic music, started five years ago as part of the San Francisco Bay \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/MARE_ISLAND_PRESERVE_HOMEPAGE.html\">Flyway Festival\u003c/a>, which draws hundreds to the island to observe migrating birds. The shows occur in a disused munitions magazine; artists including Rova Saxophone Quartet’s Larry Ochs and Thingamajigs Performance Group have also played in the concrete structure. Paul Boneberg, a Vallejo arts commissioner, described the sound art programming as creative reuse like little else in the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, though, Hayes believes the unique blend of arts and outdoors uses is at risk. Real-estate development on Mare Island, coupled with what she considers “bureaucratic bullying,” threaten her volunteer group’s longtime role, and with it Hayes’ open-minded style of stewardship and public access.\u003c/p>\n\u003cp>“I’m told that rich people are buying the island,” Hayes said. “And they don’t like the way I run this park.”\u003c/p>\n\u003ch2>Soliciting New Management\u003c/h2>\n\u003cp>Mare Island, once the largest naval base on the West Coast, looks largely untouched since the military left in 1996, but it’s the site of one of the Bay Area’s largest development mega-projects. The \u003ca href=\"http://www.nimitzgroup.com/\">Nimitz Group\u003c/a>, led by a local wine entrepreneur and a southern investor, has acquired hundreds of acres of property for what it envisions as a practically self-contained commercial and residential district. And city officials in Vallejo, recovering from a municipal bankruptcy in 2008, eagerly await the new economic base.\u003c/p>\n\u003cfigure id=\"attachment_13861890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg\" alt=\"At the Mare Island Shoreline Heritage Preserve's visitors center, artifacts of naval and natural history commingle.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Mare Island Shoreline Heritage Preserve’s visitors center, artifacts of naval and natural history commingle. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a Vallejo City Council meeting in May, City Manager Greg Nyhoff said that there’s no plan to develop the preserve; it’s actually set to expand when the navy transfers an adjacent tract to the city. But Hayes sees a campaign to remove her group. Officials recently told her to disallow overnight camping, which last year accounted for roughly a third of her nonprofit’s $97,000 in total revenue, and the city is reluctant to issue once-routine permits for events such as Re:Sound.\u003c/p>\n\u003cp>Last year, Vallejo set aside money to renovate the visitors center, but Hayes’ group hasn’t received it. And at the meeting this May, City Council voted to issue a request-for-qualifications soliciting organizations for operations, maintenance and management of the Mare Island Regional Park Lands.\u003c/p>\n\u003cp>“We absolutely invite the Mare Island Heritage Trust to be an applicant,” said Nyhoff, referring to Hayes’ nonprofit. “There’s no action that’s been taken to this date about ruling anybody out or ruling anybody in.”\u003c/p>\n\u003cp>But councilperson Robert McConnell, who cast the sole vote against the request for qualifications, said at the meeting that the city should already have a formal agreement with Hayes’ group. Vallejo should find another entity to manage the land expected to transfer from the Navy (which will require extensive remediation), he argued, and enshrine its partnership with Hayes for the extant preserve. “I do not believe we should be turning our backs on a partner of eleven and a half years,” McConnell said.\u003c/p>\n\u003cfigure id=\"attachment_13861894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg\" alt=\"Re:Sound, an experimental music series, occurs in a disused munitions magazine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Re:Sound, an experimental music series, occurs in a disused munitions magazine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘No Sensitivity’\u003c/h2>\n\u003cp>Appointed to a restoration advisory board in 1994, Hayes remembers the Civil War-era artillery rusting on the shoreline, a vending machine pulled out of the pond, and the protracted years of environmental remediation and approvals. The preserve first opened to the public weeks before the municipal bankruptcy in 2008, and she steered it through the ensuing services crisis, all without compensation. Now that the city is finally poised to invest in the preserve, Hayes and her volunteers feel sidelined.\u003c/p>\n\u003cp>Nimitz Group recently acquired an overgrown golf course next to the preserve, and Hayes pointed out where city contractors have begun trimming weeds and, to her dismay, spraying herbicide. “No sensitivity for historic trees, native plants,” she said. Picking blackberries, she worried aloud about foraging habitat for bluebirds, which nest in front of the visitors center, seeming stressed to be left out of critical upkeep decisions. “Some people say the rattlesnakes listen to me,” she said. “And they do.”\u003c/p>\n\u003cfigure id=\"attachment_13861889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg\" alt=\"Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians and sound artists, meanwhile, worry another operator won’t continue to make the dilapidated but intensely resonant buildings available for performance and recording. Six years ago, Hayes recommended the 12,000-square-foot munitions magazine as a venue to Jen Boyd, who asked fellow experimental musician Kevin Corcoran to help organize the inaugural Re:Sound. “Without Myrna, Re:Sound wouldn’t be possible,” Corcoran said.\u003c/p>\n\u003cp>Corcoran, who has incorporated Mare Island field recordings into his work, recalled first encountering the munitions magazine. “You open the door and this enormous, squealing sound echoes through the space with something like a 7-second reverb tail,” he said. “It’s industrial, it’s brutal, it’s designed to contain an explosion, but there’s also this aroma of fennel pollen drying in the building.”\u003c/p>\n\u003cp>Awed by the setting, and encouraged by Hayes, what was meant as a one-off became a series, since attracting performers including Paul Clipson, Maggi Payne, Voicehandler and Zachary James Watkins. Often, artists reference the island in their sets. “But whatever you do there becomes site-specific,” said Corcoran. “You work with the sound of the door, the ferry and the migrating birds overhead.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He added, “We also encourage performers to think critically about repurposing this venue with a past rooted in destruction.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Sunday morning, Myrna Hayes reclined in an upholstered chair beneath a chirping swallow nest on the stoop of what was once a munitions bunker on Vallejo’s Mare Island. She looked out at some 200 acres of scrub and structures overrun by vegetation, former naval facilities she’s helped restore and manage as a nature preserve for the past 25 years.\u003c/p>\n\u003cp>“It’s like the Presidio,” Hayes said. “But gone wild.”\u003c/p>\n\u003cp>As head of the shoestring nonprofit overseeing the Mare Island Shoreline Heritage Preserve, which opened to the public in 2008 and overlooks the San Pablo Bay and Carquinez Strait, Hayes and her fellow volunteers facilitate events and manage a dozen campsites here. They also run the depot-turned-visitor-center, where artifacts of natural and naval history commingle with hand-painted signs soliciting donations.\u003c/p>\n\u003cp>Hayes, 63, has a familiar rapport with the preserve’s regulars. As we spoke she greeted Richard, who built yurts on two of the campsites, and then Rina, a camper who was returning some rags she’d taken home to wash. Hayes brings her conviction as a conservationist to the preserve, familiar with the island’s endemic species, and also her vision as a sort of “curator,” as supporters call her, who encourages the preserve’s appeal to naturalists and artists alike. “It’s riveting for me to watch this place as a real-time play,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13861896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg\" alt=\"Once the largest naval base on the West Coast, Mare Island is dramatic redevelopment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/depot-w-fennel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Once the largest naval base on the West Coast, Mare Island is undergoing dramatic redevelopment. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.re-sound.net/\">Re:Sound\u003c/a>, a concert series of experimental electronic music, started five years ago as part of the San Francisco Bay \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/MARE_ISLAND_PRESERVE_HOMEPAGE.html\">Flyway Festival\u003c/a>, which draws hundreds to the island to observe migrating birds. The shows occur in a disused munitions magazine; artists including Rova Saxophone Quartet’s Larry Ochs and Thingamajigs Performance Group have also played in the concrete structure. Paul Boneberg, a Vallejo arts commissioner, described the sound art programming as creative reuse like little else in the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, though, Hayes believes the unique blend of arts and outdoors uses is at risk. Real-estate development on Mare Island, coupled with what she considers “bureaucratic bullying,” threaten her volunteer group’s longtime role, and with it Hayes’ open-minded style of stewardship and public access.\u003c/p>\n\u003cp>“I’m told that rich people are buying the island,” Hayes said. “And they don’t like the way I run this park.”\u003c/p>\n\u003ch2>Soliciting New Management\u003c/h2>\n\u003cp>Mare Island, once the largest naval base on the West Coast, looks largely untouched since the military left in 1996, but it’s the site of one of the Bay Area’s largest development mega-projects. The \u003ca href=\"http://www.nimitzgroup.com/\">Nimitz Group\u003c/a>, led by a local wine entrepreneur and a southern investor, has acquired hundreds of acres of property for what it envisions as a practically self-contained commercial and residential district. And city officials in Vallejo, recovering from a municipal bankruptcy in 2008, eagerly await the new economic base.\u003c/p>\n\u003cfigure id=\"attachment_13861890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861890\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg\" alt=\"At the Mare Island Shoreline Heritage Preserve's visitors center, artifacts of naval and natural history commingle.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/mare-Island-depot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Mare Island Shoreline Heritage Preserve’s visitors center, artifacts of naval and natural history commingle. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a Vallejo City Council meeting in May, City Manager Greg Nyhoff said that there’s no plan to develop the preserve; it’s actually set to expand when the navy transfers an adjacent tract to the city. But Hayes sees a campaign to remove her group. Officials recently told her to disallow overnight camping, which last year accounted for roughly a third of her nonprofit’s $97,000 in total revenue, and the city is reluctant to issue once-routine permits for events such as Re:Sound.\u003c/p>\n\u003cp>Last year, Vallejo set aside money to renovate the visitors center, but Hayes’ group hasn’t received it. And at the meeting this May, City Council voted to issue a request-for-qualifications soliciting organizations for operations, maintenance and management of the Mare Island Regional Park Lands.\u003c/p>\n\u003cp>“We absolutely invite the Mare Island Heritage Trust to be an applicant,” said Nyhoff, referring to Hayes’ nonprofit. “There’s no action that’s been taken to this date about ruling anybody out or ruling anybody in.”\u003c/p>\n\u003cp>But councilperson Robert McConnell, who cast the sole vote against the request for qualifications, said at the meeting that the city should already have a formal agreement with Hayes’ group. Vallejo should find another entity to manage the land expected to transfer from the Navy (which will require extensive remediation), he argued, and enshrine its partnership with Hayes for the extant preserve. “I do not believe we should be turning our backs on a partner of eleven and a half years,” McConnell said.\u003c/p>\n\u003cfigure id=\"attachment_13861894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg\" alt=\"Re:Sound, an experimental music series, occurs in a disused munitions magazine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Resound-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Re:Sound, an experimental music series, occurs in a disused munitions magazine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘No Sensitivity’\u003c/h2>\n\u003cp>Appointed to a restoration advisory board in 1994, Hayes remembers the Civil War-era artillery rusting on the shoreline, a vending machine pulled out of the pond, and the protracted years of environmental remediation and approvals. The preserve first opened to the public weeks before the municipal bankruptcy in 2008, and she steered it through the ensuing services crisis, all without compensation. Now that the city is finally poised to invest in the preserve, Hayes and her volunteers feel sidelined.\u003c/p>\n\u003cp>Nimitz Group recently acquired an overgrown golf course next to the preserve, and Hayes pointed out where city contractors have begun trimming weeds and, to her dismay, spraying herbicide. “No sensitivity for historic trees, native plants,” she said. Picking blackberries, she worried aloud about foraging habitat for bluebirds, which nest in front of the visitors center, seeming stressed to be left out of critical upkeep decisions. “Some people say the rattlesnakes listen to me,” she said. “And they do.”\u003c/p>\n\u003cfigure id=\"attachment_13861889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg\" alt=\"Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Mare-Island-bunker.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vegetation overgrows former naval facilities at the Mare Island Shoreline Heritage Preserve. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musicians and sound artists, meanwhile, worry another operator won’t continue to make the dilapidated but intensely resonant buildings available for performance and recording. Six years ago, Hayes recommended the 12,000-square-foot munitions magazine as a venue to Jen Boyd, who asked fellow experimental musician Kevin Corcoran to help organize the inaugural Re:Sound. “Without Myrna, Re:Sound wouldn’t be possible,” Corcoran said.\u003c/p>\n\u003cp>Corcoran, who has incorporated Mare Island field recordings into his work, recalled first encountering the munitions magazine. “You open the door and this enormous, squealing sound echoes through the space with something like a 7-second reverb tail,” he said. “It’s industrial, it’s brutal, it’s designed to contain an explosion, but there’s also this aroma of fennel pollen drying in the building.”\u003c/p>\n\u003cp>Awed by the setting, and encouraged by Hayes, what was meant as a one-off became a series, since attracting performers including Paul Clipson, Maggi Payne, Voicehandler and Zachary James Watkins. Often, artists reference the island in their sets. “But whatever you do there becomes site-specific,” said Corcoran. “You work with the sound of the door, the ferry and the migrating birds overhead.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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