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"content": "\u003cp>\u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has been around since 1993, when the festival debuted as a $5 indie rock show at the Kennel Club (now the Independent). These days, the week-long, homegrown music showcase features dozens of artists working in a variety of genres, including rap, pop and electronic, and takes place at various venues on both sides of the Bay.\u003c/p>\n\u003cp>The festival kicks off on Feb. 25 and goes through March 3, with multiple shows happening each night. Beyond well-known acts like Beirut, Princess Nokia, Bob Mould and Yuna, we’ve rounded up 10 stellar Bay Area artists not to miss this year.\u003c/p>\n\u003ch2>Pllush\u003c/h2>\n\u003cp>Performing with Miserable, Same Girls and Super Unison.\u003cbr>\n\u003cstrong>Feb. 26, Bottom of the Hill. 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Details \u003ca href=\"https://www.eventbrite.com/e/baths-gamh-w-briana-marela-wizard-apprentice-theres-talk-noise-pop-festival-2019-presents-tickets-51730251575?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2838511816/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>You know all the embarrassing feelings of jealousy, insecurity and self-doubt that usually stay between you and your diary or therapist? Wizard Apprentice brings them into the light where listeners can acknowledge them, observe them and then finally let them go. The artist’s 2018 album, \u003cem>I Am Invisible \u003c/em>(Ratskin Records), is a collection of bedroom electronic tracks that are compositionally sparse, yet incredibly rich in their storytelling. Wizard Apprentice’s tracks drop all pretenses and cut straight to the heart of heavy emotional processing.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Rose Droll\u003c/h2>\n\u003cp>Performing with Caroline Rose and Superet.\u003cbr>\n\u003cstrong>Feb. 28, The Independent. Details \u003ca href=\"http://www.ticketfly.com/event/1779484-caroline-rose-san-francisco/?utm_medium=1098158\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1784071394/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Versatile multi-instrumentalist Rose Droll can do a lot with a little, as evinced by her 2018 album \u003cem>Your Dog\u003c/em> (Father/Daughter Records). She mostly composed it in her room on acoustic guitar (and later added piano, glockenspiel and cello in the studio), and cobbled together a unique style of beat-driven folk instrumentation and throaty singing that often lapses into spoken word. \u003cem>Your Dog \u003c/em>made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2018\u003c/a> list on the strength of its inventive approach.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>vverewolf\u003c/h2>\n\u003cp>Performing with Uffie, MPHD and Starfari.\u003cbr>\n\u003cstrong>March 1, The Independent. Details \u003ca href=\"https://www.eventbrite.com/e/uffie-mphd-starfari-vverevvolf-the-independent-tickets-52228742575\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3859730063/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland pop duo vverewolf sound like they were raised on a diet of sugary cereal and Kesha, and they proudly rep their love for bubblegum pop in their work. The sparkling, synth-heavy tracks on their latest EP, \u003cem>Ugh!\u003c/em>, feel like injections of Unicorn Frappuccino straight into the blood stream. Still, there’s an emotional poignancy beneath the saccharine surface, especially on “The Other Side,” a frank, confessional track about depression and substance abuse.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Tia Nomore and Queens D.Light\u003c/h2>\n\u003cp>Performing with Princess Nokia.\u003cbr>\n\u003cstrong>March 2, UC Theatre. Details \u003ca href=\"https://www.ticketfly.com/purchase/event/1795573?utm_medium=1098158&q=cdfa5d18-d78e-4f86-8a80-9f99f7beef2e&p=ac6989c9-999f-49f7-895a-3a9e69985752&ts=1550790229&c=ticketfly&e=003355a&rt=Safetynet&h=94bc9b93f5f0b0cbdcccdd0190fa127a\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1286267833/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=547962662/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2150569020/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Tia NoMore and Queens D.Light are two of the most dynamic voices in the Bay Area rap scene, and they couldn’t be more different. Queens’ dreamy meditations on sex and spirituality are what you want to bump when you’re lighting incense and painting or reading in your room (the perfect vibe for Pisces season, which is now upon us). Tia Nomore, on the other hand, delivers fiery tomboy raps in English and sometimes Japanese, and her penchant for beats with heavy slap recall the likes of Bay Area staples like Mac Dre and Mac Mall.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Lara Sarkissian\u003c/h2>\n\u003cp>Performing with Yves Tumor and Watkins/Peacock.\u003cbr>\n\u003cstrong>March 2, The Chapel. Details \u003ca href=\"https://www.eventbrite.com/e/yves-tumor-lara-sarkissian-watkinspeacock-the-chapel-tickets-52417835156\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1895085439/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Lara Sarkissian is one half of Club Chai, the forward-thinking Oakland party and label that carved out a lane for experimental club music that caters to people who are queer, trans, immigrant, of color—or just appreciate beats that defy genres and borders. On her latest EP, \u003cem>Disruption\u003c/em>, Sarkissian draws from Armenian mythology, transporting it thousands of years into the future through heavily percussive tracks abuzz with textured synths.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Trebuchet\u003c/h2>\n\u003cp>Performing with Ben Morrison of the Brothers Comatose, Andrew St. James and Television Spies.\u003cbr>\n\u003cstrong>March 2, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9868\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Who but Trebuchet’s Elliott Whitehurst could write a fluttering, ethereal folk album about calling off his wedding the night before it was supposed to happen? Throughout Trebuchet’s \u003cem>Volte-Face \u003c/em>(which made our\u003cem> \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2017\u003c/a> list), Whitehurst meditates on a love that he “watched over-ripen” and ultimately chooses to walk away instead of living to please someone else. The resulting record makes poetry from a convoluted situation, with harmonies and string arrangements galore. (However, I’m still waiting for his ex’s version of \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>FR333\u003c/h2>\n\u003cp>Performing with Crumb, Video Age and Idhaz & Rose Cherami.\u003cbr>\n\u003cstrong>March 2, Starline Social Club. Details \u003ca href=\"https://www.eventbrite.com/e/sold-out-crumb-video-age-idhaz-rose-cherami-fr333-starline-social-club-tickets-53612898623?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024213588/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland hip-hop duo FR333’s live shows might start with some ritualistic sage burning and end in a twerk-off, but the core of the performance is always about getting in touch with one’s inner confidence. Raw, vulnerable and sexy, FR333’s work empowers and inspires by looking inward and excavating the emotional depths of spiritual growth and sexuality. Vocalist MADlines (who recently wrote a KQED Arts \u003ca href=\"https://www.kqed.org/arts/13850633/breaking-free-from-toxic-love-madlines-story\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> about self-love and leaving a toxic relationship) captivates with evocative metaphors and raspy inflections, while producer and multi-instrumentalist XOA’s intricate beatmaking creates a luxurious, velvety backdrop.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>The Total Bettys\u003c/h2>\n\u003cp>Performing with Partner, Dude York and Blushh.\u003cbr>\n\u003cstrong>March 3, Cafe du Nord. Details \u003ca href=\"https://www.eventbrite.com/e/partner-dude-york-blushh-the-total-bettys-cafe-du-nord-tickets-50423540166\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3369198218/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breaking up in the queer world means you’ll probably still run into your ex on the patio at El Rio, and that they might remain friends with half of your friends. The Total Bettys have the balm for this particular type of heartache, which they hit on the nose with their tightly composed pop punk album \u003cem>This is Paradise\u003c/em>. With charged-up guitar riffs, a sturdy rhythm section and Maggie Grabmeier’s crestfallen vocals, the Total Bettys feel your angst and channel it on 11.\u003c/p>\n\n",
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"excerpt": "Pllush, Tia NoMore, vverewolf and Wizard Apprentice are on our must-see list this year. ",
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"title": "10 Bay Area Artists Not to Miss at Noise Pop 2019 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has been around since 1993, when the festival debuted as a $5 indie rock show at the Kennel Club (now the Independent). These days, the week-long, homegrown music showcase features dozens of artists working in a variety of genres, including rap, pop and electronic, and takes place at various venues on both sides of the Bay.\u003c/p>\n\u003cp>The festival kicks off on Feb. 25 and goes through March 3, with multiple shows happening each night. Beyond well-known acts like Beirut, Princess Nokia, Bob Mould and Yuna, we’ve rounded up 10 stellar Bay Area artists not to miss this year.\u003c/p>\n\u003ch2>Pllush\u003c/h2>\n\u003cp>Performing with Miserable, Same Girls and Super Unison.\u003cbr>\n\u003cstrong>Feb. 26, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9866\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3503424820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Pllush emerged from the same fertile indie rock scene that produced standout Bay Area bands like Jay Som and Pardoner. Their 2018 album, \u003cem>Stranger to the Pain \u003c/em>(Father/Daughter Records), moves seamlessly from punchy garage-pop jam “Ortega” to gauzy shoegaze track “Big Train” and downcast post-punk meditation “Restart.” With lyrics about love and heartbreak, delicate harmonies that hit during maximal emotional catharsis and gritty instrumentation worthy of a mosh pit, Pllush’s unpolished, earnest approach has rendered them a band to watch this year.\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\u003ch2>Wizard Apprentice\u003c/h2>\n\u003cp>Performing with Baths, Briana Marela and There’s Talk.\u003cbr>\n\u003cstrong>Feb. 27, Great American Music Hall. Details \u003ca href=\"https://www.eventbrite.com/e/baths-gamh-w-briana-marela-wizard-apprentice-theres-talk-noise-pop-festival-2019-presents-tickets-51730251575?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2838511816/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>You know all the embarrassing feelings of jealousy, insecurity and self-doubt that usually stay between you and your diary or therapist? Wizard Apprentice brings them into the light where listeners can acknowledge them, observe them and then finally let them go. The artist’s 2018 album, \u003cem>I Am Invisible \u003c/em>(Ratskin Records), is a collection of bedroom electronic tracks that are compositionally sparse, yet incredibly rich in their storytelling. Wizard Apprentice’s tracks drop all pretenses and cut straight to the heart of heavy emotional processing.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Rose Droll\u003c/h2>\n\u003cp>Performing with Caroline Rose and Superet.\u003cbr>\n\u003cstrong>Feb. 28, The Independent. Details \u003ca href=\"http://www.ticketfly.com/event/1779484-caroline-rose-san-francisco/?utm_medium=1098158\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1784071394/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Versatile multi-instrumentalist Rose Droll can do a lot with a little, as evinced by her 2018 album \u003cem>Your Dog\u003c/em> (Father/Daughter Records). She mostly composed it in her room on acoustic guitar (and later added piano, glockenspiel and cello in the studio), and cobbled together a unique style of beat-driven folk instrumentation and throaty singing that often lapses into spoken word. \u003cem>Your Dog \u003c/em>made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2018\u003c/a> list on the strength of its inventive approach.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>vverewolf\u003c/h2>\n\u003cp>Performing with Uffie, MPHD and Starfari.\u003cbr>\n\u003cstrong>March 1, The Independent. Details \u003ca href=\"https://www.eventbrite.com/e/uffie-mphd-starfari-vverevvolf-the-independent-tickets-52228742575\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3859730063/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland pop duo vverewolf sound like they were raised on a diet of sugary cereal and Kesha, and they proudly rep their love for bubblegum pop in their work. The sparkling, synth-heavy tracks on their latest EP, \u003cem>Ugh!\u003c/em>, feel like injections of Unicorn Frappuccino straight into the blood stream. Still, there’s an emotional poignancy beneath the saccharine surface, especially on “The Other Side,” a frank, confessional track about depression and substance abuse.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Tia Nomore and Queens D.Light\u003c/h2>\n\u003cp>Performing with Princess Nokia.\u003cbr>\n\u003cstrong>March 2, UC Theatre. Details \u003ca href=\"https://www.ticketfly.com/purchase/event/1795573?utm_medium=1098158&q=cdfa5d18-d78e-4f86-8a80-9f99f7beef2e&p=ac6989c9-999f-49f7-895a-3a9e69985752&ts=1550790229&c=ticketfly&e=003355a&rt=Safetynet&h=94bc9b93f5f0b0cbdcccdd0190fa127a\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1286267833/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=547962662/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2150569020/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Tia NoMore and Queens D.Light are two of the most dynamic voices in the Bay Area rap scene, and they couldn’t be more different. Queens’ dreamy meditations on sex and spirituality are what you want to bump when you’re lighting incense and painting or reading in your room (the perfect vibe for Pisces season, which is now upon us). Tia Nomore, on the other hand, delivers fiery tomboy raps in English and sometimes Japanese, and her penchant for beats with heavy slap recall the likes of Bay Area staples like Mac Dre and Mac Mall.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Lara Sarkissian\u003c/h2>\n\u003cp>Performing with Yves Tumor and Watkins/Peacock.\u003cbr>\n\u003cstrong>March 2, The Chapel. Details \u003ca href=\"https://www.eventbrite.com/e/yves-tumor-lara-sarkissian-watkinspeacock-the-chapel-tickets-52417835156\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1895085439/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Lara Sarkissian is one half of Club Chai, the forward-thinking Oakland party and label that carved out a lane for experimental club music that caters to people who are queer, trans, immigrant, of color—or just appreciate beats that defy genres and borders. On her latest EP, \u003cem>Disruption\u003c/em>, Sarkissian draws from Armenian mythology, transporting it thousands of years into the future through heavily percussive tracks abuzz with textured synths.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Trebuchet\u003c/h2>\n\u003cp>Performing with Ben Morrison of the Brothers Comatose, Andrew St. James and Television Spies.\u003cbr>\n\u003cstrong>March 2, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9868\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Who but Trebuchet’s Elliott Whitehurst could write a fluttering, ethereal folk album about calling off his wedding the night before it was supposed to happen? Throughout Trebuchet’s \u003cem>Volte-Face \u003c/em>(which made our\u003cem> \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2017\u003c/a> list), Whitehurst meditates on a love that he “watched over-ripen” and ultimately chooses to walk away instead of living to please someone else. The resulting record makes poetry from a convoluted situation, with harmonies and string arrangements galore. (However, I’m still waiting for his ex’s version of \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>FR333\u003c/h2>\n\u003cp>Performing with Crumb, Video Age and Idhaz & Rose Cherami.\u003cbr>\n\u003cstrong>March 2, Starline Social Club. Details \u003ca href=\"https://www.eventbrite.com/e/sold-out-crumb-video-age-idhaz-rose-cherami-fr333-starline-social-club-tickets-53612898623?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024213588/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland hip-hop duo FR333’s live shows might start with some ritualistic sage burning and end in a twerk-off, but the core of the performance is always about getting in touch with one’s inner confidence. Raw, vulnerable and sexy, FR333’s work empowers and inspires by looking inward and excavating the emotional depths of spiritual growth and sexuality. Vocalist MADlines (who recently wrote a KQED Arts \u003ca href=\"https://www.kqed.org/arts/13850633/breaking-free-from-toxic-love-madlines-story\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> about self-love and leaving a toxic relationship) captivates with evocative metaphors and raspy inflections, while producer and multi-instrumentalist XOA’s intricate beatmaking creates a luxurious, velvety backdrop.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>The Total Bettys\u003c/h2>\n\u003cp>Performing with Partner, Dude York and Blushh.\u003cbr>\n\u003cstrong>March 3, Cafe du Nord. Details \u003ca href=\"https://www.eventbrite.com/e/partner-dude-york-blushh-the-total-bettys-cafe-du-nord-tickets-50423540166\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3369198218/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breaking up in the queer world means you’ll probably still run into your ex on the patio at El Rio, and that they might remain friends with half of your friends. The Total Bettys have the balm for this particular type of heartache, which they hit on the nose with their tightly composed pop punk album \u003cem>This is Paradise\u003c/em>. With charged-up guitar riffs, a sturdy rhythm section and Maggie Grabmeier’s crestfallen vocals, the Total Bettys feel your angst and channel it on 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Electronic Music Festival Mutek Returns to SF; Announces Initial Lineup",
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"content": "\u003cp>House, techno, club and sound art scenes thrive in disparate hubs across the globe, but there’s one place where it’s possible to experience a huge variety of forward-thinking electronic music: Mutek. The eclectic festival, which originated in Montreal and takes place in cultural capitals like Mexico City and Tokyo, returns for its second \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2019\" target=\"_blank\" rel=\"noopener\">San Francisco edition\u003c/a> on May 2–5. [contextly_sidebar id=”KYfImSlHa9AB8gngf6lP5C8NjiQeVTJG”]\u003c/p>\n\u003cp>The initial lineup, announced today, features some notable locals, including \u003ca href=\"https://clubchai.bandcamp.com/album/disruption\" target=\"_blank\" rel=\"noopener\">Lara Sarkissian\u003c/a> of boundary-pushing Bay Area party and label \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, as well as \u003ca href=\"https://bandcamp.com/nihar\" target=\"_blank\" rel=\"noopener\">Nihar\u003c/a>, producer and co-founder of San Francisco techno label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a> (Nihar performs at Mutek with visual artist \u003ca href=\"http://bysubset.com/\" target=\"_blank\" rel=\"noopener\">Subset\u003c/a>). [contextly_sidebar id=”LPCV5wa1LFVu4beuNTaXqPrB5RPF3hNk”]\u003c/p>\n\u003cp>Experimental beatmaker and vocalist \u003ca href=\"https://www.kqed.org/arts/13836950/archivist-electronic-musician-cruel-diagonals-embraces-curiosity-on-disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>, who recently left Oakland for Los Angeles, is also on the bill. Kaitlyn Aurelia Smith, a North Bay-based synth wizard, performs as well. [contextly_sidebar id=”Nt6kUQ1HHqT1a5JFnO3gB4pyawa6dRSk”]\u003c/p>\n\u003cp>The lineup also features influential national and international artists such as Hyperdub label founder \u003ca href=\"https://www.youtube.com/watch?v=1-rEAe4C8gk\" target=\"_blank\" rel=\"noopener\">Kode9\u003c/a> (in collaboration with Japanese animator \u003ca href=\"https://www.youtube.com/watch?v=Y5js4mBMU7s\" target=\"_blank\" rel=\"noopener\">Koji Morimoto\u003c/a>), Australian ambient composer \u003ca href=\"https://www.youtube.com/watch?v=uoMTSw3evr8\" target=\"_blank\" rel=\"noopener\">Lawrence English\u003c/a> and Minimal Wave Records founder \u003ca href=\"https://www.youtube.com/watch?v=4p9kOO-xS4w\" target=\"_blank\" rel=\"noopener\">Veronica Vasicka\u003c/a>.\u003c/p>\n\u003cp>Mutek features late-night parties, evening shows in theaters and galleries and day parties with interactive art installations. The full schedule of programming has not been announced yet, but you can check out the initial lineup below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lineup:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Abandoned Footwear & arc (US) / Amnesia Scanner (FI/DE) / Arpanet (US) / BLEIE & Chelley Sherman (US) / Byetone (DE) / Cool Maritime & Emily Sprague (US) / Cruel Diagonals (US) / CYRNAI (US) / Diagraf (CA/QC) / Dopplereffekt (US+DE) / Ectomorph (US) / Edna King (CA) / fuse* (IT) / Freeka Tet (FR) / GAIKA (UK) / The Hacker presents Amato Live (FR) / Halal & Relaxer (US) / Joyfultalk (CA) / Kaitlyn Aurelia Smith (US) / Kelly Moran (US) / Kode9 & Koji Morimoto (UK+JP) / Kyle Evans (US) / Lara Sarkissian (US) / Lawrence English (AU) / Layne (US) / Marpi (PL) / Michael Claus (US) / Mozhgan & Josh Cheon (US) / Nihar & Subset (US) / Rainforest Spiritual Enslavement (US+FR) / Revlux (CA) / Robot Koch & Mikael Le Goff (DE) / Sepehr (US) / Smerz (NO/DK) / Steve Hauschildt + Martin Tzonev (US) / susy.technology (CA/QC) / Tayhana (MX) / Veronica Vasicka (US)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>House, techno, club and sound art scenes thrive in disparate hubs across the globe, but there’s one place where it’s possible to experience a huge variety of forward-thinking electronic music: Mutek. The eclectic festival, which originated in Montreal and takes place in cultural capitals like Mexico City and Tokyo, returns for its second \u003ca href=\"http://www.mutek.org/en/sanfrancisco/2019\" target=\"_blank\" rel=\"noopener\">San Francisco edition\u003c/a> on May 2–5. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The initial lineup, announced today, features some notable locals, including \u003ca href=\"https://clubchai.bandcamp.com/album/disruption\" target=\"_blank\" rel=\"noopener\">Lara Sarkissian\u003c/a> of boundary-pushing Bay Area party and label \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, as well as \u003ca href=\"https://bandcamp.com/nihar\" target=\"_blank\" rel=\"noopener\">Nihar\u003c/a>, producer and co-founder of San Francisco techno label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a> (Nihar performs at Mutek with visual artist \u003ca href=\"http://bysubset.com/\" target=\"_blank\" rel=\"noopener\">Subset\u003c/a>). \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Experimental beatmaker and vocalist \u003ca href=\"https://www.kqed.org/arts/13836950/archivist-electronic-musician-cruel-diagonals-embraces-curiosity-on-disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>, who recently left Oakland for Los Angeles, is also on the bill. Kaitlyn Aurelia Smith, a North Bay-based synth wizard, performs as well. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The lineup also features influential national and international artists such as Hyperdub label founder \u003ca href=\"https://www.youtube.com/watch?v=1-rEAe4C8gk\" target=\"_blank\" rel=\"noopener\">Kode9\u003c/a> (in collaboration with Japanese animator \u003ca href=\"https://www.youtube.com/watch?v=Y5js4mBMU7s\" target=\"_blank\" rel=\"noopener\">Koji Morimoto\u003c/a>), Australian ambient composer \u003ca href=\"https://www.youtube.com/watch?v=uoMTSw3evr8\" target=\"_blank\" rel=\"noopener\">Lawrence English\u003c/a> and Minimal Wave Records founder \u003ca href=\"https://www.youtube.com/watch?v=4p9kOO-xS4w\" target=\"_blank\" rel=\"noopener\">Veronica Vasicka\u003c/a>.\u003c/p>\n\u003cp>Mutek features late-night parties, evening shows in theaters and galleries and day parties with interactive art installations. The full schedule of programming has not been announced yet, but you can check out the initial lineup below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ken Nordine, 'Word Jazz' Creator, Dies at 98",
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"content": "\u003cp>Ken Nordine, the wildly creative mind behind a series of \u003cem>Word Jazz\u003c/em> albums and the long-running \u003cem>Word Jazz\u003c/em> radio show, died Saturday at age 98, \u003ca href=\"https://www.wbez.org/shows/wbez-news/word-jazz-creator-and-host-ken-nordine-dies/71c82188-3b11-432b-93da-91d83affdaad\" rel=\"noopener\" target=\"_blank\">WBEZ reports\u003c/a>. \u003c/p>\n\u003cp>Nordine’s instantly recognizable vocal delivery—a rich basement tone that carried equal parts omen and humor—was a favorite of hipsters, radio listeners, jazz fans, poets, and college stoners, particularly during a run of surreal albums starting in the 1950s. Unusual song titles like “I Used to Think My Right Hand Was Uglier Than My Left” or “Flibberty Jib” became vehicles for Nordine’s improvisational approach to poetry, often backed by a small jazz combo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UVYpCdY4Y_0\u003c/p>\n\u003cp>In the 1970s, Nordine brought a radio show called \u003cem>Word Jazz\u003c/em> to Chicago public radio station WBEZ, after a short stint at WBBM. It stayed a staple of WBEZ’s programming for over 40 years. According to WBEZ’s Steve Edwards, the show maintained a “delicious buffet of sound portraits, mind-altering moodscapes and irregular riffs.” \u003c/p>\n\u003cp>Nordine, with his resonant voice, got his start in commercial advertising, an arena that proved dull and banal to the artist who would later collaborate with Tom Waits and David Bowie. One client he stayed with was Levi’s, then based in San Francisco, which he said gave him more creative freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_jCJURLuzdw\u003c/p>\n\u003cp>As a voice actor, Nordine’s jobs spanned unusual territory. Muppet creator Jim Henson adapted his 1957 track “Where Hunger is From” for \u003ca href=\"https://www.youtube.com/watch?v=RUWQKwrbcvA\" rel=\"noopener\" target=\"_blank\">a strange segment\u003c/a> on his first television series \u003cem>Sam and Friends\u003c/em>. Nordine also worked with autor Maurice Sendak on \u003cem>Sesame Street\u003c/em> in the 1970s—the same decade he served as vocal coach to Linda Blair for the horror film \u003cem>The Exorcist\u003c/em>.\u003c/p>\n\u003cp>The Grateful Dead’s Jerry Garcia was among many who heard Nordine’s \u003cem>Word Jazz\u003c/em> albums as a teenager and was opened to the possibilities of the human mind. “It was like a religious experience,” Garcia once said. “It was not only a completely different way of thinking, but a fantastic combination of words and music.” (Garcia collaborated with Nordine on a 1990 release, \u003cem>\u003ca href=\"http://swampland.com/reviews/view/title:devout_catalyst\" rel=\"noopener\" target=\"_blank\">Devout Catalyst\u003c/a>\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nordine was born in Iowa, and moved to Chicago young, making the city his longtime home. He is survived by three children, ten grandchildren and four great-grandchildren.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ken Nordine, the wildly creative mind behind a series of \u003cem>Word Jazz\u003c/em> albums and the long-running \u003cem>Word Jazz\u003c/em> radio show, died Saturday at age 98, \u003ca href=\"https://www.wbez.org/shows/wbez-news/word-jazz-creator-and-host-ken-nordine-dies/71c82188-3b11-432b-93da-91d83affdaad\" rel=\"noopener\" target=\"_blank\">WBEZ reports\u003c/a>. \u003c/p>\n\u003cp>Nordine’s instantly recognizable vocal delivery—a rich basement tone that carried equal parts omen and humor—was a favorite of hipsters, radio listeners, jazz fans, poets, and college stoners, particularly during a run of surreal albums starting in the 1950s. Unusual song titles like “I Used to Think My Right Hand Was Uglier Than My Left” or “Flibberty Jib” became vehicles for Nordine’s improvisational approach to poetry, often backed by a small jazz combo.\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/UVYpCdY4Y_0'\n title='//www.youtube.com/embed/UVYpCdY4Y_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the 1970s, Nordine brought a radio show called \u003cem>Word Jazz\u003c/em> to Chicago public radio station WBEZ, after a short stint at WBBM. It stayed a staple of WBEZ’s programming for over 40 years. According to WBEZ’s Steve Edwards, the show maintained a “delicious buffet of sound portraits, mind-altering moodscapes and irregular riffs.” \u003c/p>\n\u003cp>Nordine, with his resonant voice, got his start in commercial advertising, an arena that proved dull and banal to the artist who would later collaborate with Tom Waits and David Bowie. One client he stayed with was Levi’s, then based in San Francisco, which he said gave him more creative freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You may know Candice Antique as a member of the Oakland-based a capella quartet Antique Naked Soul, or from her involvement in programs like \u003ca href=\"http://edutainmentforequity.com/new-page/\" target=\"_blank\" rel=\"noopener noreferrer\">Edutainment for Equity\u003c/a> and \u003ca href=\"http://proud2beblack.org/the-kids/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gifted & Black\u003c/a>. She’s been so prolific as a musician, educator, activist and entrepreneur, in fact, that in 2017 she was selected as \u003ca href=\"https://www.kqed.org/arts/13785028/women-to-watch-candice-antique-wicks-davis\" target=\"_blank\" rel=\"noopener\">one of KQED Arts’ Women to Watch\u003c/a>.\u003c/p>\n\u003cp>Today, Antique premieres the video for “Sand,” a song from her mixtape series \u003cem>Lessons from the Road\u003c/em>, recorded during her international tour \u003ca href=\"http://antique-music.com/copy-of-the-nappy-tour-2018\" target=\"_blank\" rel=\"noopener\">\u003cem>Nappy\u003c/em>\u003c/a>, a project that she describes as a “celebration of natural hair, Black beauty, self-love and self-determination” across Africa. If you’ve never been to Kenya, Ghana, Trinidad, Tanzania or Uganda, get ready: “Sand” was filmed in all five countries, and shows their natural beauty from Maracas Beach in Trinidad to the Nile River in Uganda. Meanwhile, the song’s lyrics hit close to the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>They keep you poor and desperate / Then when you steal they lock you up\u003cbr>\nIt’s a setup, there is enough for you to have all that you want\u003cbr>\nLet’s make a wave to destroy this house that’s built on sand\u003c/p>\u003c/blockquote>\n\u003cp>Watch “Sand” above.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Sand” was previously featured at the Global Climate Action Summit in 2018 and traveled the world as a featured video for the Climate Investment Fund.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Where is the Charles Mingus Revival?",
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"content": "\u003cp>Amid all our turbulent politics, racial division, our president declaring an emergency that he \u003ca href=\"https://www.youtube.com/watch?v=_NzqiWXrfL4\" rel=\"noopener\" target=\"_blank\">openly admits he doesn’t need to declare\u003c/a>, general widespread discontent and malaise, I keep asking myself: where is the Charles Mingus revival?\u003c/p>\n\u003cp>Mingus, the outspoken, fiercely political jazz composer and bassist, seems tailor-made for 2019. Look at his lifelong fights against racial discrimination and corrupt greed among the wealthy. Look at his hard-driving compositional canon, a whirlwind of music by turns uplifting and angry or sad. Or, just look at his song titles: “Free Cell Block F, ‘Tis Nazi U.S.A.,” “Meditations on Integration,” “Remember Rockefeller at Attica,” “Prayer for Passive Resistance.” \u003c/p>\n\u003cp>Until it spreads nationwide, the answer to the question “where is the Mingus revival” is, for two nights at least, in San Jose. As part of the two-week San Jose Jazz Winterfest, running through Feb. 27, the SJZ Collective pays tribute to the larger-then-life bassist with a \u003ca href=\"https://sanjosejazz.org/artist/sjz-collective-plays-mingus/\" rel=\"noopener\" target=\"_blank\">sextet concert of Mingus compositions\u003c/a> at Cafe Stritch (Feb. 23; $15–$18).\u003c/p>\n\u003cp>Then, on Feb. 27, a living bridge to Mingus’ music hits the Stritch stage as Charles McPherson performs with his quartet. McPherson, a key element of classic Mingus albums such as \u003cem>Mingus at Monterey\u003c/em> and \u003cem>Let My Children Hear Music\u003c/em>. As a leader in his own right, his expression and tone straddle early traditions of bebop and the turbulent avant-garde. In the intimate confines of Cafe Stritch, it should be a rewarding set for a jazz master.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Charles McPherson plays Wednesday, Feb. 27, at Cafe Stritch in San Jose. \u003ca href=\"https://sanjosejazz.org/artist/charles-mcpherson/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. For the full San Jose Jazz Winterfest 2019 lineup, including the Bad Plus, Marcus Shelby, and Catherine Russell, \u003ca href=\"https://sanjosejazz.org/winter-fest/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid all our turbulent politics, racial division, our president declaring an emergency that he \u003ca href=\"https://www.youtube.com/watch?v=_NzqiWXrfL4\" rel=\"noopener\" target=\"_blank\">openly admits he doesn’t need to declare\u003c/a>, general widespread discontent and malaise, I keep asking myself: where is the Charles Mingus revival?\u003c/p>\n\u003cp>Mingus, the outspoken, fiercely political jazz composer and bassist, seems tailor-made for 2019. Look at his lifelong fights against racial discrimination and corrupt greed among the wealthy. Look at his hard-driving compositional canon, a whirlwind of music by turns uplifting and angry or sad. Or, just look at his song titles: “Free Cell Block F, ‘Tis Nazi U.S.A.,” “Meditations on Integration,” “Remember Rockefeller at Attica,” “Prayer for Passive Resistance.” \u003c/p>\n\u003cp>Until it spreads nationwide, the answer to the question “where is the Mingus revival” is, for two nights at least, in San Jose. As part of the two-week San Jose Jazz Winterfest, running through Feb. 27, the SJZ Collective pays tribute to the larger-then-life bassist with a \u003ca href=\"https://sanjosejazz.org/artist/sjz-collective-plays-mingus/\" rel=\"noopener\" target=\"_blank\">sextet concert of Mingus compositions\u003c/a> at Cafe Stritch (Feb. 23; $15–$18).\u003c/p>\n\u003cp>Then, on Feb. 27, a living bridge to Mingus’ music hits the Stritch stage as Charles McPherson performs with his quartet. McPherson, a key element of classic Mingus albums such as \u003cem>Mingus at Monterey\u003c/em> and \u003cem>Let My Children Hear Music\u003c/em>. As a leader in his own right, his expression and tone straddle early traditions of bebop and the turbulent avant-garde. In the intimate confines of Cafe Stritch, it should be a rewarding set for a jazz master.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Charles McPherson plays Wednesday, Feb. 27, at Cafe Stritch in San Jose. \u003ca href=\"https://sanjosejazz.org/artist/charles-mcpherson/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. For the full San Jose Jazz Winterfest 2019 lineup, including the Bad Plus, Marcus Shelby, and Catherine Russell, \u003ca href=\"https://sanjosejazz.org/winter-fest/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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\">T\u003c/span>ree Thomas has always been a shapeshifter. He grew up in East Oakland, on Peach Street. After graduating college in Portland, he played pro basketball for two years in the Mediterranean island country of Malta. He came home, retired from sports, and started working with the Calculated Clothing brand and collaborating with Louisiana rapper Kevin Gates.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>But even then, I was a little surprised to hear about Tree’s latest incarnation as an R&B singer. The kid from way out on 96th Ave., the pro baller, the rapper on his grind—he’s just released a melodic love-laced album titled \u003cem>B4ULUVME\u003c/em>.\u003c/p>\n\u003cp>So, ya’ll know, I had to ask: \u003cem>who hurt you?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13850864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-800x450.jpg\" alt=\"Tree Thomas.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas. \u003ccite>(Pendarvis Harshaw/KQED)\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\">F\u003c/span>irst, though, you’ve got to understand Tree’s approach to love: it’s a serendipitous action shown through his heart’s desire to see some good in the world. Even if it’s done in an unusual way. At least that’s what I gathered from how he found his closest companion, a dog named Chef.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was a homeless guy dragging him and kicking him up and down the street at a Warriors parade,” Tree told me, as he held a leash attached to Chef’s collar. He said that’s when he and a friend approached the police, asking if the boys in blue were going to do something about this case of animal cruelty. “They told us no, shrugged their shoulders. So we did something,” said Tree.\u003c/p>\n\u003cp>His friend grabbed the abusive owner. Tree grabbed the dog. The abusive owner tried to push back, but in the end, Tree and his friend won out.\u003c/p>\n\u003cp>“Whoa, that’s a bit aggressive,” I said. Tree agreed, but said that seeing a 4-month-old puppy being beaten was something he couldn’t take.\u003c/p>\n\u003cp>“I saw that abuse, I immediately had to step in,” said Tree. “I didn’t even want a dog at the time. It just happened.”\u003c/p>\n\u003cp>And now the duo is inseparable.\u003c/p>\n\u003cp>Tree said that despite the dog’s history, and the preconceived notion about his breed, his pit bull Chef is a big lover; it just needed to be in the right environment to show it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vuYTzysAeis\u003c/p>\n\u003cp>Under Chef’s paws and Tree’s feet, on the corner where we met, sat a spray-painted stencil image of the words “Lakeshore by Tree Thomas.” It’s the remnants of a campaign from last summer, when the artist dropped a song highlighting Oakland’s lakeside strip. The track is like much of Tree’s work: lyrical, smooth, about Oakland, and something you’d kind of expect from him, given his track record.\u003c/p>\n\u003cp>His track record? Well, that’s where you’ll find songs with artists like Kevin Gates, Mozzy, Prezi, Mistah F.A.B. and Kevin Allen. He even has a track with NBA star Dame Lillard. (At 6’3″, Lillard is probably the only artist that’s worked with Thomas, 6’8″, who doesn’t have to change the height of the mic when they switch places in the sound booth.)\u003c/p>\n\u003cp>All of the aforementioned are rap tracks. There’s some harmonizing, a bit of singing. But nothing like this new \u003cem>B4ULUVME\u003c/em> project.\u003c/p>\n\u003cfigure id=\"attachment_13850863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg\" alt=\"Tree Thomas in Oakland with his dog Chef.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas in Oakland with his dog Chef. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, when I heard Tree singing lyrics like “I wasn’t even lonely, those feelings wasn’t hungry,” I had to spin the track back like a DJ in the club. Is… Is he singing? The whole time? What’s going on? \u003cem>Tree, are you an R&B artist now?\u003c/em>\u003c/p>\n\u003cp>Without flinching, Tree responded, yeah. “I’ve been getting great response from it and I think that’s the main direction I’mma go from now,” he said, sitting in front of Café Lakeview, on Lakeshore near Embarcadero.\u003c/p>\n\u003cp>I sat across the coffee table, damn near interrogating him at this point: So you’re an R&B singer now. How’d you get here? \u003cem>Who hurt you?\u003c/em>\u003c/p>\n\u003cp>“There was a relationship, I just got out of it,” said Tree, as Chef sat at his feet. “Like, a long relationship actually, and it has inspired a lot of the music on this project and my previous project.”\u003c/p>\n\u003cp>But the move toward R&B also comes from Tree simply wanting to push himself further in his craft. His father and sister are both R&B singers, he grew up in a church, and he’s taking vocal lessons to develop his singing further.\u003c/p>\n\u003cp>He may jump from basketball to fashion to rapping to singing, but he always seems to do it 100 percent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sx2c4qGMXOA\u003c/p>\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\">J\u003c/span>udging from the video for the album’s first single, “YUCALLME” (why you call me?), he certainly has the R&B look down, for sure. Shirt open. Staring at the camera. I watched it and immediately \u003ca href=\"https://www.youtube.com/watch?v=5ZARV7rJy-4\" target=\"_blank\" rel=\"noopener\">thought of Jodeci\u003c/a>.\u003c/p>\n\u003cp>But unlike the majority of ’90s R&B that I grew up on, “YUCALLME” isn’t about being destroyed by love lost. Instead, Tree says the uptempo track is like: Man, I moved past this relationship, I’ve got my stuff together and bossed up. So, why are you calling me?\u003c/p>\n\u003cp>“I kind of switch the emotion, where you’re not just feeling the sadness,” said Tree. “You’re kind of uplifted, you’re kind of like: why’d you call me?”\u003c/p>\n\u003cp>Tree says his aim was to pen a jam that’s relatable. After all, everyone has experienced some sort of heartbreak. And everyone knows that feeling of picking himself or herself back up and getting back out there. Myself included.\u003c/p>\n\u003cp>I just didn’t have the talent to write an R&B song about it.\u003c/p>\n\u003cp>“I want to be able to touch as many people as I can with my music,” he explains. “That’s why I want to be able to touch as many genres as I can with my music: rapping, singing, and I have some pop records coming.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Even after doing so much already, Tree’s a growing artist, using different angles to reach different people in different positions. He understands that he can’t save every puppy in an abusive relationship, but maybe—just maybe, if he tells the story of bossing up and overcoming hurt—he’ll be able to help people move away from fear of abuse, and toward a healthier environment of showing love.\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\">T\u003c/span>ree Thomas has always been a shapeshifter. He grew up in East Oakland, on Peach Street. After graduating college in Portland, he played pro basketball for two years in the Mediterranean island country of Malta. He came home, retired from sports, and started working with the Calculated Clothing brand and collaborating with Louisiana rapper Kevin Gates.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>But even then, I was a little surprised to hear about Tree’s latest incarnation as an R&B singer. The kid from way out on 96th Ave., the pro baller, the rapper on his grind—he’s just released a melodic love-laced album titled \u003cem>B4ULUVME\u003c/em>.\u003c/p>\n\u003cp>So, ya’ll know, I had to ask: \u003cem>who hurt you?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13850864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-800x450.jpg\" alt=\"Tree Thomas.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas. \u003ccite>(Pendarvis Harshaw/KQED)\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\">F\u003c/span>irst, though, you’ve got to understand Tree’s approach to love: it’s a serendipitous action shown through his heart’s desire to see some good in the world. Even if it’s done in an unusual way. At least that’s what I gathered from how he found his closest companion, a dog named Chef.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was a homeless guy dragging him and kicking him up and down the street at a Warriors parade,” Tree told me, as he held a leash attached to Chef’s collar. He said that’s when he and a friend approached the police, asking if the boys in blue were going to do something about this case of animal cruelty. “They told us no, shrugged their shoulders. So we did something,” said Tree.\u003c/p>\n\u003cp>His friend grabbed the abusive owner. Tree grabbed the dog. The abusive owner tried to push back, but in the end, Tree and his friend won out.\u003c/p>\n\u003cp>“Whoa, that’s a bit aggressive,” I said. Tree agreed, but said that seeing a 4-month-old puppy being beaten was something he couldn’t take.\u003c/p>\n\u003cp>“I saw that abuse, I immediately had to step in,” said Tree. “I didn’t even want a dog at the time. It just happened.”\u003c/p>\n\u003cp>And now the duo is inseparable.\u003c/p>\n\u003cp>Tree said that despite the dog’s history, and the preconceived notion about his breed, his pit bull Chef is a big lover; it just needed to be in the right environment to show it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vuYTzysAeis'\n title='//www.youtube.com/embed/vuYTzysAeis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Under Chef’s paws and Tree’s feet, on the corner where we met, sat a spray-painted stencil image of the words “Lakeshore by Tree Thomas.” It’s the remnants of a campaign from last summer, when the artist dropped a song highlighting Oakland’s lakeside strip. The track is like much of Tree’s work: lyrical, smooth, about Oakland, and something you’d kind of expect from him, given his track record.\u003c/p>\n\u003cp>His track record? Well, that’s where you’ll find songs with artists like Kevin Gates, Mozzy, Prezi, Mistah F.A.B. and Kevin Allen. He even has a track with NBA star Dame Lillard. (At 6’3″, Lillard is probably the only artist that’s worked with Thomas, 6’8″, who doesn’t have to change the height of the mic when they switch places in the sound booth.)\u003c/p>\n\u003cp>All of the aforementioned are rap tracks. There’s some harmonizing, a bit of singing. But nothing like this new \u003cem>B4ULUVME\u003c/em> project.\u003c/p>\n\u003cfigure id=\"attachment_13850863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg\" alt=\"Tree Thomas in Oakland with his dog Chef.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas in Oakland with his dog Chef. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, when I heard Tree singing lyrics like “I wasn’t even lonely, those feelings wasn’t hungry,” I had to spin the track back like a DJ in the club. Is… Is he singing? The whole time? What’s going on? \u003cem>Tree, are you an R&B artist now?\u003c/em>\u003c/p>\n\u003cp>Without flinching, Tree responded, yeah. “I’ve been getting great response from it and I think that’s the main direction I’mma go from now,” he said, sitting in front of Café Lakeview, on Lakeshore near Embarcadero.\u003c/p>\n\u003cp>I sat across the coffee table, damn near interrogating him at this point: So you’re an R&B singer now. How’d you get here? \u003cem>Who hurt you?\u003c/em>\u003c/p>\n\u003cp>“There was a relationship, I just got out of it,” said Tree, as Chef sat at his feet. “Like, a long relationship actually, and it has inspired a lot of the music on this project and my previous project.”\u003c/p>\n\u003cp>But the move toward R&B also comes from Tree simply wanting to push himself further in his craft. His father and sister are both R&B singers, he grew up in a church, and he’s taking vocal lessons to develop his singing further.\u003c/p>\n\u003cp>He may jump from basketball to fashion to rapping to singing, but he always seems to do it 100 percent.\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/Sx2c4qGMXOA'\n title='//www.youtube.com/embed/Sx2c4qGMXOA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">J\u003c/span>udging from the video for the album’s first single, “YUCALLME” (why you call me?), he certainly has the R&B look down, for sure. Shirt open. Staring at the camera. I watched it and immediately \u003ca href=\"https://www.youtube.com/watch?v=5ZARV7rJy-4\" target=\"_blank\" rel=\"noopener\">thought of Jodeci\u003c/a>.\u003c/p>\n\u003cp>But unlike the majority of ’90s R&B that I grew up on, “YUCALLME” isn’t about being destroyed by love lost. Instead, Tree says the uptempo track is like: Man, I moved past this relationship, I’ve got my stuff together and bossed up. So, why are you calling me?\u003c/p>\n\u003cp>“I kind of switch the emotion, where you’re not just feeling the sadness,” said Tree. “You’re kind of uplifted, you’re kind of like: why’d you call me?”\u003c/p>\n\u003cp>Tree says his aim was to pen a jam that’s relatable. After all, everyone has experienced some sort of heartbreak. And everyone knows that feeling of picking himself or herself back up and getting back out there. Myself included.\u003c/p>\n\u003cp>I just didn’t have the talent to write an R&B song about it.\u003c/p>\n\u003cp>“I want to be able to touch as many people as I can with my music,” he explains. “That’s why I want to be able to touch as many genres as I can with my music: rapping, singing, and I have some pop records coming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even after doing so much already, Tree’s a growing artist, using different angles to reach different people in different positions. He understands that he can’t save every puppy in an abusive relationship, but maybe—just maybe, if he tells the story of bossing up and overcoming hurt—he’ll be able to help people move away from fear of abuse, and toward a healthier environment of showing love.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On Her Posthumous Album, Cherushii's Ecstatic Vision is Crystal Clear",
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"content": "\u003cp>Estonian singer Maria Minerva and the late San Francisco producer \u003ca href=\"https://cherushii.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Cherushii\u003c/a> became fast friends once their label, 100% Silk, paired them up to go on a nationwide tour together in 2013. Whenever Minerva would visit Cherushii in San Francisco in the years that followed, she was struck by her unpretentious optimism and sense of adventure. [contextly_sidebar id=”uuiHQG3X8gvxQuA6idFAWRJe5hPd9mBC”]\u003c/p>\n\u003cp>Minerva recalls a time when Cherushii invited her to perform an early-morning set at the Folsom Street Fair, the famed fetish celebration.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To me that was the most insane experience ever,” Minerva laughs, remembering how Cherushii brought the same enthusiasm to the sparse crowd of leather-clad early risers as she would have during peak hours at a rave. “For her, that was her comfort zone.”\u003c/span>\u003c/p>\n\u003cp>Sadly, Cherushii, whose real name is Chelsea Faith Dolan, was killed in the 2016 Ghost Ship fire just as she was hitting her creative stride.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Right before her passing, things were going so great for her. She was doing bigger and better gigs every week, producing a lot—she never stopped,”\u003c/span> says Minerva in a phone interview from Los Angeles. She and Cherushii had been in the process of completing a collaborative album in the months leading up to her death.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After two years of working to finish the project amid a difficult grieving process, Minerva releases her album with Cherushii via 100% Silk on Feb. 15. Titled \u003cem>S/T\u003c/em>, it offers a glimpse into the new, exalted house-pop direction Cherushii was reaching for before her passing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=753160670/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Soulful, ebullient and effervescent are some ways to describe Cherushii’s approach to house music, which harked back to the funky, jubilant expressions of influential ’90s acts like \u003ca href=\"https://youtu.be/MdoKsW6-r-M\" target=\"_blank\" rel=\"noopener\">Inner City\u003c/a> and \u003ca href=\"https://youtu.be/644UU55eyzk\" target=\"_blank\" rel=\"noopener\">Frankie Knuckles\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>S/T\u003c/em>, Cherushii’s deep, pulsing grooves and heavy-reverb synths recall the work of pioneering pop producer \u003ca href=\"https://youtu.be/RK4Gr0Z1gsA\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>, who’s responsible for some of Donna Summer’s biggest hits. With Minerva’s melancholy lyrics about solitude and heartbreak against Cherushii’s ecstatic production, \u003cem>S/T\u003c/em> would sit comfortably on a playlist with tracks like “\u003ca href=\"https://youtu.be/8o5BHH9U2Mg\" target=\"_blank\" rel=\"noopener\">Missing U\u003c/a>” by Robyn or “\u003ca href=\"https://www.youtube.com/watch?v=rEamE0MYPkg\" target=\"_blank\" rel=\"noopener\">Everything is Embarrassing\u003c/a>” by Sky Ferreira—sparkly dance-pop tunes that belie pensive, emotional lyrics. [contextly_sidebar id=”F65KQ8pRal1u2LNfByFchOZNPnqbGWvo”]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“More so than other musicians I worked with, [Cherushii] was inspired by the notion of making songs for people to thrill to, and bond to and celebrate to,” says Britt Brown, the co-owner of 100% Silk. “She wasn’t one of those people who’d write a song because she’s sad and it’s a sad song. … It was this revved up, joyful party song.”\u003c/span>\u003c/p>\n\u003cp>“Out by Myself,” about the feeling of transcendence on the dance floor, captures how the pure love of a good beat propelled Cherushii’s creative process. (Her romantic and creative partner David Last assisted with mixing on the track.) On \u003cem>S/T\u003c/em> and in Cherushii’s solo work, her songs are often lengthy, with play times of up to eight minutes. Her maximalist beats beckon the listener—who is also often a dancer—to find the groove and hang out in it for a while, allowing melodic twists and turns to take them to new heights of spiritual ecstasy.\u003c/p>\n\u003cfigure id=\"attachment_13850859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/folsom-800x799.png\" alt=\"Cherushii and Maria Minerva performing at Folsom Street Fair. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1020x1018.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1200x1198.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cherushii and Maria Minerva performing at Folsom Street Fair. \u003ccite>(Colleen Dolan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown and Minerva say that Cherushii sometimes felt under-recognized as a producer, and Minerva laments that Cherushii passed away before gender equality became a major topic of conversation in the electronic music world. Now, many international festivals have committed to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-43196414\" target=\"_blank\" rel=\"noopener\">booking 50 percent women\u003c/a> for their lineups by 2022. Female producers \u003ca href=\"https://www.thefader.com/2018/03/15/budx-seoul-peggy-gou-interview-boiler-room-budweiser\" target=\"_blank\" rel=\"noopener\">Peggy Gou\u003c/a> and \u003ca href=\"https://www.thefader.com/2018/06/05/yaeji-cover-story\" target=\"_blank\" rel=\"noopener\">Yaeji\u003c/a> have emerged as two of club music’s biggest stars, and their work shares Cherushii’s joyous, life-affirming sensibility.\u003c/p>\n\u003cp>“She would complain to me about the party scene in San Francisco—and that’s like throwing shade now—but a lot of the male producers and DJs would look through her and not give her the time of day,” Minerva says. “Now the music world is waking up to the fact that it’s happening, and festival lineups get called out for the lack of women.”\u003c/p>\n\u003cp>“That never happened five years ago,” she continues, “And it’s a shame because I feel like she would have benefited from that new awareness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Estonian singer Maria Minerva and the late San Francisco producer \u003ca href=\"https://cherushii.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Cherushii\u003c/a> became fast friends once their label, 100% Silk, paired them up to go on a nationwide tour together in 2013. Whenever Minerva would visit Cherushii in San Francisco in the years that followed, she was struck by her unpretentious optimism and sense of adventure. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Minerva recalls a time when Cherushii invited her to perform an early-morning set at the Folsom Street Fair, the famed fetish celebration.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To me that was the most insane experience ever,” Minerva laughs, remembering how Cherushii brought the same enthusiasm to the sparse crowd of leather-clad early risers as she would have during peak hours at a rave. “For her, that was her comfort zone.”\u003c/span>\u003c/p>\n\u003cp>Sadly, Cherushii, whose real name is Chelsea Faith Dolan, was killed in the 2016 Ghost Ship fire just as she was hitting her creative stride.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Right before her passing, things were going so great for her. She was doing bigger and better gigs every week, producing a lot—she never stopped,”\u003c/span> says Minerva in a phone interview from Los Angeles. She and Cherushii had been in the process of completing a collaborative album in the months leading up to her death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After two years of working to finish the project amid a difficult grieving process, Minerva releases her album with Cherushii via 100% Silk on Feb. 15. Titled \u003cem>S/T\u003c/em>, it offers a glimpse into the new, exalted house-pop direction Cherushii was reaching for before her passing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=753160670/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Soulful, ebullient and effervescent are some ways to describe Cherushii’s approach to house music, which harked back to the funky, jubilant expressions of influential ’90s acts like \u003ca href=\"https://youtu.be/MdoKsW6-r-M\" target=\"_blank\" rel=\"noopener\">Inner City\u003c/a> and \u003ca href=\"https://youtu.be/644UU55eyzk\" target=\"_blank\" rel=\"noopener\">Frankie Knuckles\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>S/T\u003c/em>, Cherushii’s deep, pulsing grooves and heavy-reverb synths recall the work of pioneering pop producer \u003ca href=\"https://youtu.be/RK4Gr0Z1gsA\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>, who’s responsible for some of Donna Summer’s biggest hits. With Minerva’s melancholy lyrics about solitude and heartbreak against Cherushii’s ecstatic production, \u003cem>S/T\u003c/em> would sit comfortably on a playlist with tracks like “\u003ca href=\"https://youtu.be/8o5BHH9U2Mg\" target=\"_blank\" rel=\"noopener\">Missing U\u003c/a>” by Robyn or “\u003ca href=\"https://www.youtube.com/watch?v=rEamE0MYPkg\" target=\"_blank\" rel=\"noopener\">Everything is Embarrassing\u003c/a>” by Sky Ferreira—sparkly dance-pop tunes that belie pensive, emotional lyrics. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“More so than other musicians I worked with, [Cherushii] was inspired by the notion of making songs for people to thrill to, and bond to and celebrate to,” says Britt Brown, the co-owner of 100% Silk. “She wasn’t one of those people who’d write a song because she’s sad and it’s a sad song. … It was this revved up, joyful party song.”\u003c/span>\u003c/p>\n\u003cp>“Out by Myself,” about the feeling of transcendence on the dance floor, captures how the pure love of a good beat propelled Cherushii’s creative process. (Her romantic and creative partner David Last assisted with mixing on the track.) On \u003cem>S/T\u003c/em> and in Cherushii’s solo work, her songs are often lengthy, with play times of up to eight minutes. Her maximalist beats beckon the listener—who is also often a dancer—to find the groove and hang out in it for a while, allowing melodic twists and turns to take them to new heights of spiritual ecstasy.\u003c/p>\n\u003cfigure id=\"attachment_13850859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/folsom-800x799.png\" alt=\"Cherushii and Maria Minerva performing at Folsom Street Fair. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1020x1018.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1200x1198.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cherushii and Maria Minerva performing at Folsom Street Fair. \u003ccite>(Colleen Dolan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown and Minerva say that Cherushii sometimes felt under-recognized as a producer, and Minerva laments that Cherushii passed away before gender equality became a major topic of conversation in the electronic music world. Now, many international festivals have committed to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-43196414\" target=\"_blank\" rel=\"noopener\">booking 50 percent women\u003c/a> for their lineups by 2022. Female producers \u003ca href=\"https://www.thefader.com/2018/03/15/budx-seoul-peggy-gou-interview-boiler-room-budweiser\" target=\"_blank\" rel=\"noopener\">Peggy Gou\u003c/a> and \u003ca href=\"https://www.thefader.com/2018/06/05/yaeji-cover-story\" target=\"_blank\" rel=\"noopener\">Yaeji\u003c/a> have emerged as two of club music’s biggest stars, and their work shares Cherushii’s joyous, life-affirming sensibility.\u003c/p>\n\u003cp>“She would complain to me about the party scene in San Francisco—and that’s like throwing shade now—but a lot of the male producers and DJs would look through her and not give her the time of day,” Minerva says. “Now the music world is waking up to the fact that it’s happening, and festival lineups get called out for the lack of women.”\u003c/p>\n\u003cp>“That never happened five years ago,” she continues, “And it’s a shame because I feel like she would have benefited from that new awareness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Breaking Free from Toxic Love: MADlines' Story",
"headTitle": "Breaking Free from Toxic Love: MADlines’ Story | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> \u003ca href=\"http://madlinesinfo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a>, aka Maddy Clifford, is an Oakland rapper, poet and activist, as well as an educator in the juvenile justice system. In this personal essay, she delves into her journey of learning to love herself after leaving a toxic relationship.\u003c/em>\u003c/p>\n\u003cp>I have a confession to make. I’m not over it. I haven’t healed from the trauma I survived, and I haven’t fully convinced myself that I’m lovable. That realization is painful, but avoiding it would only make me susceptible to repeating my mistakes.\u003c/p>\n\u003cp>A story can set you free or keep you confined. The stories we learn about love, about what we deserve, speak volumes. Even as a feminist, I have internalized harmful stories about love. These concepts came at me as a child within my own home. They bombarded me at school and as I walked through the world. I was stalked by societal expectations, harassed by desire even before I grew into my adolescent body.\u003c/p>\n\u003cp>I was taught that it isn’t normal to be alone. “Why is a beautiful girl like you still single?” men would ask. I was taught that it is my duty to sacrifice my wellbeing for others. I was taught that it’s normal for relationships to be tiring sites where, as a woman—and, therefore, a nurturer—my job is to act as an unpaid therapist. I was taught that it’s selfish for me to demand respect, to set firm boundaries, to enjoy being in solitude.\u003c/p>\n\u003cp>I knew that these stories were problematic in theory, but I still fell in line. But perhaps one of the most dangerous stories I was ever taught is that physical abuse is the only abuse that matters. Trust me, it isn’t.\u003c/p>\n\u003ch2>Breaking the Curse of a Toxic Attachment\u003c/h2>\n\u003cp>Over a year ago, I ended a four-year relationship. I loved this person profoundly and thought that we could remain cordial. What I’d hoped would be a normal separation morphed into an unnecessarily agonizing upheaval that impacted my sense of self-worth. Every breakup is hard, but this one changed my life. I had to come face to face with the hard truth: it had never been a normal relationship to begin with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Healing from emotional abuse is particularly challenging because there are no visible scars. Instead, there’s a voice inside your head constantly criticizing you and causing you to question your intuition. There’s a lack of focus, a fatigue like no other. There’s this horrifying realization that a person’s callous responses to how they are impacting you is a reflection of how they’ve always been. I used to believe my ex was just brutally honest. I now know that he used manipulation, sabotage and isolation tactics to break my spirit and feed his fragile ego.\u003c/p>\n\u003cp>Gaslighting is the process of “undermining another person’s reality by denying facts, the environment around them, or their feelings,” writes Yale psychoanalyst Robin Stern in a \u003ca href=\"https://www.vox.com/first-person/2018/12/19/18140830/gaslighting-relationships-politics-explained\" target=\"_blank\" rel=\"noopener noreferrer\">Vox article\u003c/a> explaining the phenomenon. To the outside world, perpetrators may appear to be reflective, but within intimate relationships they can be persistently harmful.\u003c/p>\n\u003cp>Gaslighting causes victims to be “manipulated into turning against their own cognition, their emotions and who they fundamentally are as people,” writes Stern. Gaslighting can lead to severe depression, health concerns and even suicidal thoughts. To add insult to injury, men have a whole library full of stories to deny women’s pain. When they paint their ex as “crazy,” a chorus of enablers nods in agreement. Nobody talks about the psychological torture that drives a woman to her breaking point.\u003c/p>\n\u003cp>My initial fight or flight response to being bullied was just that—to fight. I’ve since let go of that debilitating experience. I cut off all contact with my ex. I removed the people from my life who were not rooting for me, who were determined to discredit my experience. I cultivated friendships with folks that share my core values. I stopped blaming myself, stopped telling myself that the longest relationship of my life had been an epic failure. Instead, I realized it was a curse that only I could break. I focused on learning to prioritize my wellbeing and trust my intuition.\u003c/p>\n\u003cp>I realized that I will never receive closure from others. Instead, I decided to seek it in myself. Instead of continuing to spiral, I chose to face my pain head on. I chose to heal through my creativity.\u003c/p>\n\u003ch2>A Healthy Love Starts with Yourself\u003c/h2>\n\u003cp>What the formerly incarcerated say is that, at first, freedom can seem scarier than a cell. Suddenly, the wind hits your face. Suddenly, all the mechanisms you used to conceal the truth from yourself melt away. Even trauma can have a kind of pattern to it, a consistency. The shock of breaking a harmful pattern is intense.\u003c/p>\n\u003cp>I went through long periods of time when I was so enraged I couldn’t see straight. But anger usually masks grief. A traumatic breakup that altered my reality became a beautiful opportunity to see the self-fulfilling prophecies I needed to break. I used to think that my love was so powerful that it could heal anyone. But this line of reasoning is dangerous.\u003c/p>\n\u003cp>One of the things they teach you in lifeguard training is how to approach a drowning person. People that can’t swim are fighting a losing battle with the water. They swallow buckets of it. They panic and flail, grasping at anything to keep them afloat. If you try to save them by approaching from the front they will grab you and take you down with them. Loving someone who has intense trauma and refuses to do the real work of healing from it often results in sacrificing your own peace and ability to grow. And the irony is that water is life. We all naturally float.\u003c/p>\n\u003cp>My self-love journey hasn’t ended. It will last a lifetime. But I know that courage is my compass. My self-preservation is a revolutionary act. In order to truly change, I began writing regularly. I started taking therapy seriously. I took up boxing, channeling my anger for self-defense. I turned to tarot to strengthen my intuition. I interpreted my dreams. I began meditating.\u003c/p>\n\u003cp>People noticed my aura became brighter. Although this drew new lovers to me, I didn’t start a new long-term relationship. Instead, I prioritized loving myself.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Self-love is more than spa days and weekend getaways: self-love is strenuous. Self-love can feel like a kind of death. What’s dying is a harmful story. What’s being born is an entirely new you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> \u003ca href=\"http://madlinesinfo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a>, aka Maddy Clifford, is an Oakland rapper, poet and activist, as well as an educator in the juvenile justice system. In this personal essay, she delves into her journey of learning to love herself after leaving a toxic relationship.\u003c/em>\u003c/p>\n\u003cp>I have a confession to make. I’m not over it. I haven’t healed from the trauma I survived, and I haven’t fully convinced myself that I’m lovable. That realization is painful, but avoiding it would only make me susceptible to repeating my mistakes.\u003c/p>\n\u003cp>A story can set you free or keep you confined. The stories we learn about love, about what we deserve, speak volumes. Even as a feminist, I have internalized harmful stories about love. These concepts came at me as a child within my own home. They bombarded me at school and as I walked through the world. I was stalked by societal expectations, harassed by desire even before I grew into my adolescent body.\u003c/p>\n\u003cp>I was taught that it isn’t normal to be alone. “Why is a beautiful girl like you still single?” men would ask. I was taught that it is my duty to sacrifice my wellbeing for others. I was taught that it’s normal for relationships to be tiring sites where, as a woman—and, therefore, a nurturer—my job is to act as an unpaid therapist. I was taught that it’s selfish for me to demand respect, to set firm boundaries, to enjoy being in solitude.\u003c/p>\n\u003cp>I knew that these stories were problematic in theory, but I still fell in line. But perhaps one of the most dangerous stories I was ever taught is that physical abuse is the only abuse that matters. Trust me, it isn’t.\u003c/p>\n\u003ch2>Breaking the Curse of a Toxic Attachment\u003c/h2>\n\u003cp>Over a year ago, I ended a four-year relationship. I loved this person profoundly and thought that we could remain cordial. What I’d hoped would be a normal separation morphed into an unnecessarily agonizing upheaval that impacted my sense of self-worth. Every breakup is hard, but this one changed my life. I had to come face to face with the hard truth: it had never been a normal relationship to begin with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Healing from emotional abuse is particularly challenging because there are no visible scars. Instead, there’s a voice inside your head constantly criticizing you and causing you to question your intuition. There’s a lack of focus, a fatigue like no other. There’s this horrifying realization that a person’s callous responses to how they are impacting you is a reflection of how they’ve always been. I used to believe my ex was just brutally honest. I now know that he used manipulation, sabotage and isolation tactics to break my spirit and feed his fragile ego.\u003c/p>\n\u003cp>Gaslighting is the process of “undermining another person’s reality by denying facts, the environment around them, or their feelings,” writes Yale psychoanalyst Robin Stern in a \u003ca href=\"https://www.vox.com/first-person/2018/12/19/18140830/gaslighting-relationships-politics-explained\" target=\"_blank\" rel=\"noopener noreferrer\">Vox article\u003c/a> explaining the phenomenon. To the outside world, perpetrators may appear to be reflective, but within intimate relationships they can be persistently harmful.\u003c/p>\n\u003cp>Gaslighting causes victims to be “manipulated into turning against their own cognition, their emotions and who they fundamentally are as people,” writes Stern. Gaslighting can lead to severe depression, health concerns and even suicidal thoughts. To add insult to injury, men have a whole library full of stories to deny women’s pain. When they paint their ex as “crazy,” a chorus of enablers nods in agreement. Nobody talks about the psychological torture that drives a woman to her breaking point.\u003c/p>\n\u003cp>My initial fight or flight response to being bullied was just that—to fight. I’ve since let go of that debilitating experience. I cut off all contact with my ex. I removed the people from my life who were not rooting for me, who were determined to discredit my experience. I cultivated friendships with folks that share my core values. I stopped blaming myself, stopped telling myself that the longest relationship of my life had been an epic failure. Instead, I realized it was a curse that only I could break. I focused on learning to prioritize my wellbeing and trust my intuition.\u003c/p>\n\u003cp>I realized that I will never receive closure from others. Instead, I decided to seek it in myself. Instead of continuing to spiral, I chose to face my pain head on. I chose to heal through my creativity.\u003c/p>\n\u003ch2>A Healthy Love Starts with Yourself\u003c/h2>\n\u003cp>What the formerly incarcerated say is that, at first, freedom can seem scarier than a cell. Suddenly, the wind hits your face. Suddenly, all the mechanisms you used to conceal the truth from yourself melt away. Even trauma can have a kind of pattern to it, a consistency. The shock of breaking a harmful pattern is intense.\u003c/p>\n\u003cp>I went through long periods of time when I was so enraged I couldn’t see straight. But anger usually masks grief. A traumatic breakup that altered my reality became a beautiful opportunity to see the self-fulfilling prophecies I needed to break. I used to think that my love was so powerful that it could heal anyone. But this line of reasoning is dangerous.\u003c/p>\n\u003cp>One of the things they teach you in lifeguard training is how to approach a drowning person. People that can’t swim are fighting a losing battle with the water. They swallow buckets of it. They panic and flail, grasping at anything to keep them afloat. If you try to save them by approaching from the front they will grab you and take you down with them. Loving someone who has intense trauma and refuses to do the real work of healing from it often results in sacrificing your own peace and ability to grow. And the irony is that water is life. We all naturally float.\u003c/p>\n\u003cp>My self-love journey hasn’t ended. It will last a lifetime. But I know that courage is my compass. My self-preservation is a revolutionary act. In order to truly change, I began writing regularly. I started taking therapy seriously. I took up boxing, channeling my anger for self-defense. I turned to tarot to strengthen my intuition. I interpreted my dreams. I began meditating.\u003c/p>\n\u003cp>People noticed my aura became brighter. Although this drew new lovers to me, I didn’t start a new long-term relationship. Instead, I prioritized loving myself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For many LGBTQ+ people, nightlife is where we build community, express ourselves and experience healing through dancing and having fun. It’s never \u003cem>just\u003c/em> about the party.\u003c/p>\n\u003cp>This is as much the case now as it was 30 years ago when photographer Melissa Hawkins hit the San Francisco streets to document the vibrant queer club scene for \u003cem>The Sentinel\u003c/em>, a now-defunct gay newspaper. Some of the SoMA venues she photographed still host wild parties, such as The Stud and The End Up, while others have since closed their doors amid the city’s shifting socioeconomic landscape.\u003c/p>\n\u003cp>Hawkins’ new show at the GLBT Historical Society, \u003ca href=\"https://www.facebook.com/events/1986627791385298/\" target=\"_blank\" rel=\"noopener\">\u003cem>SoMa Nights: The Queer Club Photography of Melissa Hawkins 1986-1994\u003c/em>\u003c/a>, opens up a time capsule into a crucial historical moment, when the LGBTQ+ community sought refuge in nightlife as the AIDS epidemic was at its peak. Co-curated by Hawkins and journalist/historian Marke Bieschke, the show features stunning shots of drag queens, leather ladies and other beautiful, diverse queer and trans people, plus posters, buttons, videos and other artifacts from the time.\u003c/p>\n\u003cp>\u003cem>SoMA Nights\u003c/em> opens on Feb. 15 with music from DJ Junkyard and remarks from the curators, and remains on view through May 27. Details \u003ca href=\"https://www.facebook.com/events/1986627791385298/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many LGBTQ+ people, nightlife is where we build community, express ourselves and experience healing through dancing and having fun. It’s never \u003cem>just\u003c/em> about the party.\u003c/p>\n\u003cp>This is as much the case now as it was 30 years ago when photographer Melissa Hawkins hit the San Francisco streets to document the vibrant queer club scene for \u003cem>The Sentinel\u003c/em>, a now-defunct gay newspaper. Some of the SoMA venues she photographed still host wild parties, such as The Stud and The End Up, while others have since closed their doors amid the city’s shifting socioeconomic landscape.\u003c/p>\n\u003cp>Hawkins’ new show at the GLBT Historical Society, \u003ca href=\"https://www.facebook.com/events/1986627791385298/\" target=\"_blank\" rel=\"noopener\">\u003cem>SoMa Nights: The Queer Club Photography of Melissa Hawkins 1986-1994\u003c/em>\u003c/a>, opens up a time capsule into a crucial historical moment, when the LGBTQ+ community sought refuge in nightlife as the AIDS epidemic was at its peak. Co-curated by Hawkins and journalist/historian Marke Bieschke, the show features stunning shots of drag queens, leather ladies and other beautiful, diverse queer and trans people, plus posters, buttons, videos and other artifacts from the time.\u003c/p>\n\u003cp>\u003cem>SoMA Nights\u003c/em> opens on Feb. 15 with music from DJ Junkyard and remarks from the curators, and remains on view through May 27. Details \u003ca href=\"https://www.facebook.com/events/1986627791385298/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Quiet Signs' Establishes Jessica Pratt as a Contemporary Folk Luminary",
"headTitle": "‘Quiet Signs’ Establishes Jessica Pratt as a Contemporary Folk Luminary | KQED",
"content": "\u003cp>\u003ca href=\"https://jessicapratt.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Jessica Pratt\u003c/a> makes a fiercely interior kind of folk music that works from the belief that one’s heart and mind are as vast as the world beyond them.\u003c/p>\n\u003cp>It’s a way of thinking that’s brought to life on the cover of her latest album, \u003ca href=\"https://jessicapratt.bandcamp.com/album/quiet-signs\" target=\"_blank\" rel=\"noopener\">\u003cem>Quiet Signs\u003c/em>\u003c/a>, released Feb. 8 on Mexican Summer. In a photograph taken by Saamuel Richard, the singer stands defiantly atop a bed in a cavernous looking honeymoon suite. The photo looks like a still from a lost movie, but without a plot, all we’re left is a hazy sense of place and time: this is where she stands, here and now. [contextly_sidebar id=”Akz6gx77NgbSh0kk9g9Ff5gKorQ7glcP”]\u003c/p>\n\u003cp>With \u003cem>Quiet Signs\u003c/em>, Pratt navigates the deep waters of love, hope and happiness in ways that are both familiar and uncanny. In doing so, she’s created the most realized body of her work in her career, firmly placing herself in the league of standout contemporary folk artists like \u003ca href=\"https://pitchfork.com/reviews/albums/angel-olsen-phases/\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>, \u003ca href=\"https://www.npr.org/2018/09/18/649113740/julie-byrne-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Julie Byrne\u003c/a> and \u003ca href=\"https://pitchfork.com/news/weyes-blood-announces-new-album-titanic-rising-shares-new-song-everyday-listen/\" target=\"_blank\" rel=\"noopener\">Weyes Blood\u003c/a> while clearing new ground in a lane that is all her own. It is both a far cry and perfect continuation of Pratt’s earliest work—the former bedroom singer claiming the stage with the full force of her talent and unique ability to inspire others to dream.\u003c/p>\n\u003cp>Pratt’s work first gained attention thanks to the evangelical promotion of San Francisco rock musician Tim Presley (White Fence, DRINKS), who founded \u003ca href=\"https://www.facebook.com/BirthRecords/\" target=\"_blank\" rel=\"noopener\">Birth Records\u003c/a> to release Pratt’s self-titled debut in 2012. “I was captivated by how blue and wise [her work] sounded,” says Presley, who came upon Pratt’s music via MySpace. “I thought it would be a crime for it not to be heard.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=413408912/size=large/bgcol=ffffff/linkcol=0687f5/license_id=277/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By some accounts (including the artist’s own), Pratt’s music going unheard seemed like a real possibility. “By the time I was actually writing anything resembling songs and recording them crudely in my bedroom, I didn’t consider music as a possible profession at all,” says the artist, who recently relocated from San Francisco to Los Angeles.\u003c/p>\n\u003cp>Even among friends, Pratt’s musicianship seemed like something of a secret. “She rarely played her music in front of us, but I would always listen to her practice up in our bathroom,” remembers friend and former roommate Moses Rios. “I would lay in my room, listening to her play up there, sounding so ghostly through the stairwell.” [contextly_sidebar id=”wudvO6vNWwrLCVFQ4fyIebieQsTcBhPB”]\u003c/p>\n\u003cp>The initial pressing of Jessica Pratt’s debut sold out almost immediately and drew a cult following for its distinct sound, a fully-formed collection of sparse, crystalline folk songs that sound genuinely timeless rather than simply retro. Wielding her high, scruffy voice and nylon-string guitar, Pratt can collapse styles and decades unlike any other artist.\u003c/p>\n\u003cp>Her 2015 track, “Strange Melody” exemplifies this. A psychic excavation of a failing relationship, Pratt summoned the spirit of Leonard Cohen in her searing fingerpicked guitar while interpolating Duran Duran’s “Hungry Like the Wolf” in the song’s refrain—a strange little melody that seems to try to rise and break free from Pratt’s song.\u003c/p>\n\u003cp>https://youtu.be/CJJt2xXmlxg\u003c/p>\n\u003cp>\u003cem>Quiet Signs\u003c/em> builds on these stylistic strides with the inclusion of new instruments, adding gorgeous and thrilling layers to her sound. The sun-kissed warmth of Pratt’s guitar explodes into a flurry of cherub-like flutes on “Poly Blue.” Meanwhile, the melancholic synth that accents “This Time Around” feels like a sympathetic hand on a crumpled shoulder.\u003c/p>\n\u003cp>For a musician that so often sings in the first person, the “I” in Pratt’s lyrics never asserts itself over her listeners. The generosity of Pratt’s music lies in its obscurity, in the rich language and gorgeously simple musical architecture she crafts for her audience to hang their imaginations upon. Part of what makes Pratt such an evocative songwriter is the way that she conjures ideas and leaves them to trace their own paths through her listener’s minds, picking up new resonance and associations over time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=413408912/size=large/bgcol=ffffff/linkcol=0687f5/license_id=277/tracklist=false/artwork=small/track=2052372611/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Often when I’m writing, words or lyrics come half-formed, or sometimes completely unformed beyond a phonetic shape,” Pratt says of the track “Crossing,” which embodies this generosity to a T. Taking its cue from the deeply emotional, wordless songs on the album \u003cem>Young Prayer\u003c/em> by Panda Bear, “Crossing” is a feat of melody and feeling. Glowing in reverb over a simple but evocative guitar, Pratt’s voice soars and then falls into hope and despair, leaping beyond the static meaning in words.\u003c/p>\n\u003cp>It’s in moments like this that Pratt’s music takes on a psychedelic quality, opening up a window when the doors of possibility seem hopelessly shut. In this way, the cover with the lone, self-possessed woman is deceptive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to taking on collaborators, Pratt recorded \u003cem>Quiet Signs\u003c/em> in the wake of meeting her partner. For the generosity of her solo work, Pratt reveals the only thing more vast than looking deep within one’s heart is sharing it with another person.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://jessicapratt.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Jessica Pratt\u003c/a> makes a fiercely interior kind of folk music that works from the belief that one’s heart and mind are as vast as the world beyond them.\u003c/p>\n\u003cp>It’s a way of thinking that’s brought to life on the cover of her latest album, \u003ca href=\"https://jessicapratt.bandcamp.com/album/quiet-signs\" target=\"_blank\" rel=\"noopener\">\u003cem>Quiet Signs\u003c/em>\u003c/a>, released Feb. 8 on Mexican Summer. In a photograph taken by Saamuel Richard, the singer stands defiantly atop a bed in a cavernous looking honeymoon suite. The photo looks like a still from a lost movie, but without a plot, all we’re left is a hazy sense of place and time: this is where she stands, here and now. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With \u003cem>Quiet Signs\u003c/em>, Pratt navigates the deep waters of love, hope and happiness in ways that are both familiar and uncanny. In doing so, she’s created the most realized body of her work in her career, firmly placing herself in the league of standout contemporary folk artists like \u003ca href=\"https://pitchfork.com/reviews/albums/angel-olsen-phases/\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>, \u003ca href=\"https://www.npr.org/2018/09/18/649113740/julie-byrne-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Julie Byrne\u003c/a> and \u003ca href=\"https://pitchfork.com/news/weyes-blood-announces-new-album-titanic-rising-shares-new-song-everyday-listen/\" target=\"_blank\" rel=\"noopener\">Weyes Blood\u003c/a> while clearing new ground in a lane that is all her own. It is both a far cry and perfect continuation of Pratt’s earliest work—the former bedroom singer claiming the stage with the full force of her talent and unique ability to inspire others to dream.\u003c/p>\n\u003cp>Pratt’s work first gained attention thanks to the evangelical promotion of San Francisco rock musician Tim Presley (White Fence, DRINKS), who founded \u003ca href=\"https://www.facebook.com/BirthRecords/\" target=\"_blank\" rel=\"noopener\">Birth Records\u003c/a> to release Pratt’s self-titled debut in 2012. “I was captivated by how blue and wise [her work] sounded,” says Presley, who came upon Pratt’s music via MySpace. “I thought it would be a crime for it not to be heard.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=413408912/size=large/bgcol=ffffff/linkcol=0687f5/license_id=277/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By some accounts (including the artist’s own), Pratt’s music going unheard seemed like a real possibility. “By the time I was actually writing anything resembling songs and recording them crudely in my bedroom, I didn’t consider music as a possible profession at all,” says the artist, who recently relocated from San Francisco to Los Angeles.\u003c/p>\n\u003cp>Even among friends, Pratt’s musicianship seemed like something of a secret. “She rarely played her music in front of us, but I would always listen to her practice up in our bathroom,” remembers friend and former roommate Moses Rios. “I would lay in my room, listening to her play up there, sounding so ghostly through the stairwell.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The initial pressing of Jessica Pratt’s debut sold out almost immediately and drew a cult following for its distinct sound, a fully-formed collection of sparse, crystalline folk songs that sound genuinely timeless rather than simply retro. Wielding her high, scruffy voice and nylon-string guitar, Pratt can collapse styles and decades unlike any other artist.\u003c/p>\n\u003cp>Her 2015 track, “Strange Melody” exemplifies this. A psychic excavation of a failing relationship, Pratt summoned the spirit of Leonard Cohen in her searing fingerpicked guitar while interpolating Duran Duran’s “Hungry Like the Wolf” in the song’s refrain—a strange little melody that seems to try to rise and break free from Pratt’s song.\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/CJJt2xXmlxg'\n title='//www.youtube.com/embed/CJJt2xXmlxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Quiet Signs\u003c/em> builds on these stylistic strides with the inclusion of new instruments, adding gorgeous and thrilling layers to her sound. The sun-kissed warmth of Pratt’s guitar explodes into a flurry of cherub-like flutes on “Poly Blue.” Meanwhile, the melancholic synth that accents “This Time Around” feels like a sympathetic hand on a crumpled shoulder.\u003c/p>\n\u003cp>For a musician that so often sings in the first person, the “I” in Pratt’s lyrics never asserts itself over her listeners. The generosity of Pratt’s music lies in its obscurity, in the rich language and gorgeously simple musical architecture she crafts for her audience to hang their imaginations upon. Part of what makes Pratt such an evocative songwriter is the way that she conjures ideas and leaves them to trace their own paths through her listener’s minds, picking up new resonance and associations over time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=413408912/size=large/bgcol=ffffff/linkcol=0687f5/license_id=277/tracklist=false/artwork=small/track=2052372611/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Often when I’m writing, words or lyrics come half-formed, or sometimes completely unformed beyond a phonetic shape,” Pratt says of the track “Crossing,” which embodies this generosity to a T. Taking its cue from the deeply emotional, wordless songs on the album \u003cem>Young Prayer\u003c/em> by Panda Bear, “Crossing” is a feat of melody and feeling. Glowing in reverb over a simple but evocative guitar, Pratt’s voice soars and then falls into hope and despair, leaping beyond the static meaning in words.\u003c/p>\n\u003cp>It’s in moments like this that Pratt’s music takes on a psychedelic quality, opening up a window when the doors of possibility seem hopelessly shut. In this way, the cover with the lone, self-possessed woman is deceptive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to taking on collaborators, Pratt recorded \u003cem>Quiet Signs\u003c/em> in the wake of meeting her partner. For the generosity of her solo work, Pratt reveals the only thing more vast than looking deep within one’s heart is sharing it with another person.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Complete Play-by-Play of the 2019 Grammy Awards",
"headTitle": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"content": "\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[contextly_sidebar id=”NOsRsKhC4dv9SK8p8eDhnDdOqxRkohH3″]\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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