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"content": "\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. [contextly_sidebar id=”aegPM1aJbUGHg4rZKoumubHB9GeydshH”]\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. [contextly_sidebar id=”PG9gW2jdmBWy0PpW48bRxfJQiBjMY5BC”]\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The complete list of Bay Area winners at the 61st Grammy Awards. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "2019 Grammy Awards: Predictions And Considerations",
"headTitle": "2019 Grammy Awards: Predictions And Considerations | KQED",
"content": "\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>[contextly_sidebar id=”7eUtSw3O3ZIIvJQn4I0q51c5u0YGVq7R”]\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\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>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Winners of this year’s Grammy Awards will be announced Sunday, Feb. 10. It’s been a year since outrage erupted in the music business after Neil Portnow, president and CEO of the Recording Academy, the organization which gives out the Grammys, said in an interview that women should \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> if they wanted to be recognized in the music industry.\u003c/p>\n\u003cp>In the days and weeks that followed, there was a \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/09/584506881/music-industry-men-join-cry-to-change-the-recording-academy\">volley\u003c/a> of calls for Portnow’s resignation, and for changes in the Grammy process. But gender inequality issues in the music business go far beyond one awards show.\u003c/p>\n\u003cp>The road to this year’s Grammy Awards show has been bumpy. On Thursday, pop star \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\">Ariana Grande\u003c/a>, who’s up for two awards — announced on \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627013762506752\">Twitter\u003c/a> that she won’t even attend the ceremony. She’d been slated to perform — but the show’s producers reportedly insisted that they would choose her set list. She wanted to make the decision. The show’s producer, Ken Ehrlich, reportedly told the AP on Thursday that the singer “felt it was \u003ca href=\"https://www.apnews.com/404b3a97ff434d919be6efc0e95fe859\">too late\u003c/a> for her to pull something together.”\u003c/p>\n\u003cp>Grande quickly fired back, accusing Ehrlich of \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627215600734208\">lying\u003c/a>. In a series of tweets, she wrote: “i can pull together a performance over night and you know that, Ken. it was when my creativity & self expression was stifled by you, that i decided not to attend… i \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627572598988800\">offered\u003c/a> 3 different songs.”\u003c/p>\n\u003cp>The Grande situation echoes a similar situation last year, when \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, who was the one female nominee for Album of the Year, was not allowed to perform solo. That was one of the catalysts that led to Neil Portnow’s “step up” comments. Portnow, who has headed the Recording Academy since 2002, \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/615889769/grammy-president-neil-portnow-to-step-down-in-2019\">announced\u003c/a> last May that he will be stepping down this July when his contract expires; he declined NPR’s request for an interview.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”t8etDcRbbLTJXHKZNhPcwnJgySNqGQo6″]\u003c/p>\n\u003cp>Melinda Newman, West Coast editor of \u003cem>Billboard\u003c/em>, says that the Recording Academy is just part of a larger issue. “They don’t have any jurisdiction,” Newman observes. “They don’t put out content. They don’t make records themselves. So in some ways, a lot of the hue and cry that we’re seeing from Neil Portnow’s remarks really are reflective of just the general music industry and the lack of diversity in the general music industry.”\u003c/p>\n\u003cp>The numbers bear Newman’s argument out: Women are missing in popular music.\u003c/p>\n\u003cp>“They only represent about 21 percent of all artists,” notes Stacy L. Smith, the founder and director of the \u003ca href=\"https://annenberg.usc.edu/research/aii\">Annenberg Inclusion Initiative\u003c/a> at the University of Southern California. Earlier this week, her team released its \u003ca href=\"http://assets.uscannenberg.org/docs/aii-inclusion-recording-studio-2019.pdf\">second annual report\u003c/a> about the percentage of women working in the music industry, based on the Billboard Hot 100.\u003c/p>\n\u003cp>“Twenty three percent of the 700 songs in our sample had one of 10 male songwriters attached to them,” Smith continues. “So, culturally we’re allowing 10 men to set the norms — that really doesn’t represent the world that we live in.”\u003c/p>\n\u003cp>Smith says that lack of women’s voices really shapes pop music. “It directly translates to what is being told or communicated to audiences,” she continues, “about norms, about lived experiences — and we’re seeing females shut out from this process.”\u003c/p>\n\u003cp>Since the Annenberg researchers released its initial report last year, not much has changed in terms of the numbers of women working in the music business; Smith calls this year’s findings a “rinse and repeat” of the team’s 2018 report.\u003c/p>\n\u003cp>Katherine Pieper, another Annenberg researcher, says the group also interviewed women about working in music as part of its 2019 report. She notes that this same team has also studied the film business — an industry that has had some of its \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo \u003c/a>and gender disparity issues quite publicly aired.\u003c/p>\n\u003cp>“We interviewed both female directors and executives in the film industry who were knowledgeable about the process of hiring female directors,” Pieper says. “We asked them some similar questions about the barriers facing female directors, and why there were so few women working behind the camera. And the answers that we heard there were very different. We heard a lot about the need to finance a film, and the difficulty that women had getting the resources to make their movies. We heard about women’s ambition, and the difficulty of networking.”\u003c/p>\n\u003cp>Pieper says that the music business is faring much worse than Hollywood.\u003c/p>\n\u003cp>“In this study of the music industry,” Pieper continues, “we heard much more about the lack of attention paid to women’s contributions and the way that they were treated in the studio. This was a very different set of barriers. They were hit on. They were the object of innuendo, they felt personally unsafe in certain situations. Oftentimes, their contributions were ignored, or not acknowledged — even dismissed by the people they were working with.”\u003c/p>\n\u003cp>[contextly_sidebar id=”yxpgSCGyiC4nabq0crlkOFAA7UG9opqV”]\u003c/p>\n\u003cp>The Grammy organization is hoping that it can emerge from last year’s condemnations as a leader. \u003ca href=\"https://buckleyfirm.com/people/tina-tchen\">Tina Tchen\u003c/a> is a co-founder of the Time’s Up Legal Defense Fund and was Michelle Obama’s chief of staff. Last spring, the Recording Academy asked Tchen to \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\">lead its new task force\u003c/a> for inclusion and diversity.\u003c/p>\n\u003cp>Tchen is well aware that the music industry stats for women are abysmal.\u003c/p>\n\u003cp>“Of producers in the music industry, only two percent are women,” she says. “Of engineers in the music industry, only three percent are women. It’s the 21st Century, and we’re talking about in these key roles in the music industry.”\u003c/p>\n\u003cp>So, earlier this month, the Recording Academy announced a new program: It’s asking any business or individual who hires record producers or engineers to consider at least two women for any project. The initiative already has over 300 signatories; artists who have pledged to participate include Cardi B, Post Malone, Pharrell Williams … and Ariana Grande.\u003c/p>\n\u003cp>“We thought this was an important first step,” Tchen says. “Through this initiative, we really gave everybody something to do that’s really concrete, and is really going to make a difference.”\u003c/p>\n\u003cp>And though it’s a start, Tchen says, bigger shifts are going to much more time to achieve.\u003c/p>\n\u003cp>“We have taken decades, if not millennia, to get in this position with respect to how women advance in our broader culture, not just in this industry,” Tchen notes. “So it’s going to take us a lot more than one year to solve this issue.”\u003c/p>\n\u003cp>The Recording Academy has taken certain other concrete steps to repair the Grammy Awards as well, including attempting to expand the \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">diversity of its membership\u003c/a> and taking the number of possible nominees in its top four categories — Album of the Year, Record of the Year, Song of the Year and Best New Artist — from five to eight slots.\u003c/p>\n\u003cp>That last move has already paid dividends: five out of the eight nominees who could win Album of the Year on Sunday are \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">women\u003c/a>, and female artists also form the majority of nominees in the Best New Artist category.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692671099/692823703\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\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>Winners of this year’s Grammy Awards will be announced Sunday, Feb. 10. It’s been a year since outrage erupted in the music business after Neil Portnow, president and CEO of the Recording Academy, the organization which gives out the Grammys, said in an interview that women should \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> if they wanted to be recognized in the music industry.\u003c/p>\n\u003cp>In the days and weeks that followed, there was a \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/09/584506881/music-industry-men-join-cry-to-change-the-recording-academy\">volley\u003c/a> of calls for Portnow’s resignation, and for changes in the Grammy process. But gender inequality issues in the music business go far beyond one awards show.\u003c/p>\n\u003cp>The road to this year’s Grammy Awards show has been bumpy. On Thursday, pop star \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\">Ariana Grande\u003c/a>, who’s up for two awards — announced on \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627013762506752\">Twitter\u003c/a> that she won’t even attend the ceremony. She’d been slated to perform — but the show’s producers reportedly insisted that they would choose her set list. She wanted to make the decision. The show’s producer, Ken Ehrlich, reportedly told the AP on Thursday that the singer “felt it was \u003ca href=\"https://www.apnews.com/404b3a97ff434d919be6efc0e95fe859\">too late\u003c/a> for her to pull something together.”\u003c/p>\n\u003cp>Grande quickly fired back, accusing Ehrlich of \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627215600734208\">lying\u003c/a>. In a series of tweets, she wrote: “i can pull together a performance over night and you know that, Ken. it was when my creativity & self expression was stifled by you, that i decided not to attend… i \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627572598988800\">offered\u003c/a> 3 different songs.”\u003c/p>\n\u003cp>The Grande situation echoes a similar situation last year, when \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, who was the one female nominee for Album of the Year, was not allowed to perform solo. That was one of the catalysts that led to Neil Portnow’s “step up” comments. Portnow, who has headed the Recording Academy since 2002, \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/615889769/grammy-president-neil-portnow-to-step-down-in-2019\">announced\u003c/a> last May that he will be stepping down this July when his contract expires; he declined NPR’s request for an interview.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Melinda Newman, West Coast editor of \u003cem>Billboard\u003c/em>, says that the Recording Academy is just part of a larger issue. “They don’t have any jurisdiction,” Newman observes. “They don’t put out content. They don’t make records themselves. So in some ways, a lot of the hue and cry that we’re seeing from Neil Portnow’s remarks really are reflective of just the general music industry and the lack of diversity in the general music industry.”\u003c/p>\n\u003cp>The numbers bear Newman’s argument out: Women are missing in popular music.\u003c/p>\n\u003cp>“They only represent about 21 percent of all artists,” notes Stacy L. Smith, the founder and director of the \u003ca href=\"https://annenberg.usc.edu/research/aii\">Annenberg Inclusion Initiative\u003c/a> at the University of Southern California. Earlier this week, her team released its \u003ca href=\"http://assets.uscannenberg.org/docs/aii-inclusion-recording-studio-2019.pdf\">second annual report\u003c/a> about the percentage of women working in the music industry, based on the Billboard Hot 100.\u003c/p>\n\u003cp>“Twenty three percent of the 700 songs in our sample had one of 10 male songwriters attached to them,” Smith continues. “So, culturally we’re allowing 10 men to set the norms — that really doesn’t represent the world that we live in.”\u003c/p>\n\u003cp>Smith says that lack of women’s voices really shapes pop music. “It directly translates to what is being told or communicated to audiences,” she continues, “about norms, about lived experiences — and we’re seeing females shut out from this process.”\u003c/p>\n\u003cp>Since the Annenberg researchers released its initial report last year, not much has changed in terms of the numbers of women working in the music business; Smith calls this year’s findings a “rinse and repeat” of the team’s 2018 report.\u003c/p>\n\u003cp>Katherine Pieper, another Annenberg researcher, says the group also interviewed women about working in music as part of its 2019 report. She notes that this same team has also studied the film business — an industry that has had some of its \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo \u003c/a>and gender disparity issues quite publicly aired.\u003c/p>\n\u003cp>“We interviewed both female directors and executives in the film industry who were knowledgeable about the process of hiring female directors,” Pieper says. “We asked them some similar questions about the barriers facing female directors, and why there were so few women working behind the camera. And the answers that we heard there were very different. We heard a lot about the need to finance a film, and the difficulty that women had getting the resources to make their movies. We heard about women’s ambition, and the difficulty of networking.”\u003c/p>\n\u003cp>Pieper says that the music business is faring much worse than Hollywood.\u003c/p>\n\u003cp>“In this study of the music industry,” Pieper continues, “we heard much more about the lack of attention paid to women’s contributions and the way that they were treated in the studio. This was a very different set of barriers. They were hit on. They were the object of innuendo, they felt personally unsafe in certain situations. Oftentimes, their contributions were ignored, or not acknowledged — even dismissed by the people they were working with.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Grammy organization is hoping that it can emerge from last year’s condemnations as a leader. \u003ca href=\"https://buckleyfirm.com/people/tina-tchen\">Tina Tchen\u003c/a> is a co-founder of the Time’s Up Legal Defense Fund and was Michelle Obama’s chief of staff. Last spring, the Recording Academy asked Tchen to \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\">lead its new task force\u003c/a> for inclusion and diversity.\u003c/p>\n\u003cp>Tchen is well aware that the music industry stats for women are abysmal.\u003c/p>\n\u003cp>“Of producers in the music industry, only two percent are women,” she says. “Of engineers in the music industry, only three percent are women. It’s the 21st Century, and we’re talking about in these key roles in the music industry.”\u003c/p>\n\u003cp>So, earlier this month, the Recording Academy announced a new program: It’s asking any business or individual who hires record producers or engineers to consider at least two women for any project. The initiative already has over 300 signatories; artists who have pledged to participate include Cardi B, Post Malone, Pharrell Williams … and Ariana Grande.\u003c/p>\n\u003cp>“We thought this was an important first step,” Tchen says. “Through this initiative, we really gave everybody something to do that’s really concrete, and is really going to make a difference.”\u003c/p>\n\u003cp>And though it’s a start, Tchen says, bigger shifts are going to much more time to achieve.\u003c/p>\n\u003cp>“We have taken decades, if not millennia, to get in this position with respect to how women advance in our broader culture, not just in this industry,” Tchen notes. “So it’s going to take us a lot more than one year to solve this issue.”\u003c/p>\n\u003cp>The Recording Academy has taken certain other concrete steps to repair the Grammy Awards as well, including attempting to expand the \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">diversity of its membership\u003c/a> and taking the number of possible nominees in its top four categories — Album of the Year, Record of the Year, Song of the Year and Best New Artist — from five to eight slots.\u003c/p>\n\u003cp>That last move has already paid dividends: five out of the eight nominees who could win Album of the Year on Sunday are \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">women\u003c/a>, and female artists also form the majority of nominees in the Best New Artist category.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>[dropcap]I[/dropcap] never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=jx6zqCY8GMU\u003c/p>\n\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It would be good if we had a little bit more of what we used to have in the world,\" Laboe says. \"Nevertheless, people are people and they still have the same basic wants and needs. Everyone is capable of love and affection, if they could just have a little bit more of it for each other.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\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/jx6zqCY8GMU'\n title='//www.youtube.com/embed/jx6zqCY8GMU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would be good if we had a little bit more of what we used to have in the world,\" Laboe says. \"Nevertheless, people are people and they still have the same basic wants and needs. Everyone is capable of love and affection, if they could just have a little bit more of it for each other.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Bay Area Grammy Nominees You Won't See on TV",
"headTitle": "The Bay Area Grammy Nominees You Won’t See on TV | KQED",
"content": "\u003cp>The best of the best have recorded Robert Schumann’s Symphonies Nos. 1–4, including world-renowned ensembles such as Herbert von Karajan conducting the Berlin Philharmonic and Leonard Bernstein leading the New York Philharmonic. So how can an orchestra possibly re-imagine a piece of music that’s been performed since the mid-19th century, let alone render that performance original enough to be worthy of a Grammy nomination in 2019?\u003c/p>\n\u003cp>“In this traditional literature that we record, there’s certainly no point in recording it in these times unless you have something unique to say about it,” says Jack Vad, a producer and engineer who collaborated with outgoing music director Michael Tilson Thomas on the San Francisco Symphony’s recordings of Schumann’s symphonies. The double-disc set \u003cem>Schumann: Symphonies Nos. 1–4\u003c/em> (SFS Media), recorded in Davies Symphony Hall and released on the symphony’s own label, is up for Best Orchestral Performance at the 61st Grammy Awards this Sunday.\u003c/p>\n\u003cp>“The differences in interpretation that are exemplified in this particular set are ones that reflect a more nuanced, more sensitive and more intimate feeling about these pieces,” Vad tells me. “I think when you get to that level of subtlety, all of a sudden you find things that are a bit different. It’s easy to be loud and it’s easy to be quiet and simple, but there are a whole lot of other things in between.”\u003c/p>\n\u003cp>https://youtu.be/DnSQlqBmW-8\u003c/p>\n\u003cp>Admittedly, like most people, I’ve always been more into to the pop performances and celebrity drama at the Grammy Awards (like Ariana Grande \u003ca href=\"https://www.elle.com/culture/celebrities/a26242352/ariana-grande-grammy-producer-lying-tweets/\" target=\"_blank\" rel=\"noopener\">beefing\u003c/a> with Grammy producer Ken Ehlrich this year). But there are dozens of Grammy categories—in classical, opera, jazz, metal and blues—that don’t get televised. This year’s awards feature two dozen-plus Bay Area nominees that you won’t see on TV this weekend, and close to half of those \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">nominees\u003c/a>, including MTT and the San Francisco Symphony, are in the classical and opera categories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mason Bates’ tech-inspired opera \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a> is a hot contender for Best Opera Recording, Best Engineered Classical Album and Best Contemporary Classical Composition. \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is up for Best Opera Recording for \u003cem>Doctor Atomic\u003c/em>, which premiered at San Francisco Opera. Conductor \u003cspan style=\"font-weight: 400\">Constantine Orbelian and producer Vilius Keras, both locals, could take home the Best Opera Recording award for their work on Verdi’s \u003cem>Rigoletto\u003c/em> with the Kaunas City Symphony Orchestra and the Men Of The Kaunas State Choir. And in Contemporary Classical Composition, Bates competes against fellow Bay Area composer Jake Heggie, who is nominated for his farcical meta-opera \u003cem>Great Scott\u003c/em>. [contextly_sidebar id=”ig9G0wxIy1dWqoj9EcuVkxnUgGBvOhCv”]\u003c/span>\u003c/p>\n\u003cp>“I think getting this far does reflect a whole village,” says Bates of reaching Grammy-level contention. “There’s the singers, who are amazing, and obviously there’s the recording engineers. And then there’s the music and libretto—and that is the anchor of it all—but it all has to work together.”\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, one of the country’s most boundary-pushing string ensembles, is in the running for Best Chamber Music/Small Ensemble Performance with \u003cem>Landfall\u003c/em>, the moody and surrealist album they recorded with musician and performance artist Laurie Anderson. And veteran Bay Area engineers Keith O. Johnson and Sean Royce Martin are up for Best Engineered Classical Album for their work on the Dallas Winds’ \u003cem>John Williams at the Movies\u003c/em>, competing against fellow local engineer Shawn Murphy, who worked on Andris Nelsons and Boston Symphony Orchestra’s rendition of Shostakovich’s Symphonies Nos. 4 and 11. [contextly_sidebar id=”4Pg74aEbfe4miG4RHq29kG5LfUbaA8YR”]\u003c/p>\n\u003cp>“[The recordings] that have merit—it’s a lot more than technical do-how,” says Keith O. Johnson, explaining that engineering the Dallas Winds’ renditions of Williams’ classic theme songs for \u003cem>Superman\u003c/em> and \u003cem>Star Wars\u003c/em> required creative decision-making such as knowing when to emphasize a soloist or re-position the listener’s vantage point from the audience to the orchestra pit. “[The Recording Academy] is interested in performance, emotions, feelings, drama, staging—the kinds of things that make a recording something special to listen to.”\u003c/p>\n\u003cp>https://youtu.be/ddTQmLyfbqo\u003c/p>\n\u003cp>Although the Grammys aren’t quite as prestigious in the classical music world as the Pulitzer Prize—and, according to industry insiders, don’t make a big difference in sales—some critics argue that the Grammys’ emphasis on contemporary and historical works alike reward orchestras for taking risks.\u003c/p>\n\u003cp>“These days, the classical Grammys are much more closely linked to live orchestral performance than they’ve been for quite some time,” writes Anne Midgette for \u003cem>\u003ca href=\"https://www.washingtonpost.com/entertainment/music/orchestras-dont-get-record-deals-any-more-the-grammys-show-a-silver-lining/2019/02/07/161ebcc4-2990-11e9-b011-d8500644dc98_story.html?noredirect=on&utm_term=.12e0fceb1a00\" target=\"_blank\" rel=\"noopener\">The Washington Post\u003c/a>\u003c/em>. “That’s because most orchestral recordings these days are made during performances, and are issued, in many cases, on orchestras’ own in-house labels. Recording, increasingly, is part of an orchestra’s mandate. And since, as we’ve seen, recordings tend to feature different repertoire than standard subscription programs, this trend of recording concerts for release is contributing, slowly but surely, to a perceptible broadening of the orchestral repertoire.”\u003c/p>\n\u003cp>Though the winners of the classical and opera categories won’t be seen on TV this Sunday at the Grammys, it’s heartening to know that the Bay Area’s forward-thinking classical music talent is recognized on such a mainstream platform.\u003c/p>\n\u003cp>As Kronos Quartet’s David Harrington jokes: “\u003cem>Landfall\u003c/em> for \u003ca href=\"https://www.grammy.com/grammys/news/album-year-nominees-revealed-2019-grammy-awards\" target=\"_blank\" rel=\"noopener\">Album of the Year\u003c/a>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "What makes a Grammy-worthy classical performance? Bay Area nominees weigh in. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best of the best have recorded Robert Schumann’s Symphonies Nos. 1–4, including world-renowned ensembles such as Herbert von Karajan conducting the Berlin Philharmonic and Leonard Bernstein leading the New York Philharmonic. So how can an orchestra possibly re-imagine a piece of music that’s been performed since the mid-19th century, let alone render that performance original enough to be worthy of a Grammy nomination in 2019?\u003c/p>\n\u003cp>“In this traditional literature that we record, there’s certainly no point in recording it in these times unless you have something unique to say about it,” says Jack Vad, a producer and engineer who collaborated with outgoing music director Michael Tilson Thomas on the San Francisco Symphony’s recordings of Schumann’s symphonies. The double-disc set \u003cem>Schumann: Symphonies Nos. 1–4\u003c/em> (SFS Media), recorded in Davies Symphony Hall and released on the symphony’s own label, is up for Best Orchestral Performance at the 61st Grammy Awards this Sunday.\u003c/p>\n\u003cp>“The differences in interpretation that are exemplified in this particular set are ones that reflect a more nuanced, more sensitive and more intimate feeling about these pieces,” Vad tells me. “I think when you get to that level of subtlety, all of a sudden you find things that are a bit different. It’s easy to be loud and it’s easy to be quiet and simple, but there are a whole lot of other things in between.”\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/DnSQlqBmW-8'\n title='//www.youtube.com/embed/DnSQlqBmW-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Admittedly, like most people, I’ve always been more into to the pop performances and celebrity drama at the Grammy Awards (like Ariana Grande \u003ca href=\"https://www.elle.com/culture/celebrities/a26242352/ariana-grande-grammy-producer-lying-tweets/\" target=\"_blank\" rel=\"noopener\">beefing\u003c/a> with Grammy producer Ken Ehlrich this year). But there are dozens of Grammy categories—in classical, opera, jazz, metal and blues—that don’t get televised. This year’s awards feature two dozen-plus Bay Area nominees that you won’t see on TV this weekend, and close to half of those \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">nominees\u003c/a>, including MTT and the San Francisco Symphony, are in the classical and opera categories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mason Bates’ tech-inspired opera \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a> is a hot contender for Best Opera Recording, Best Engineered Classical Album and Best Contemporary Classical Composition. \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is up for Best Opera Recording for \u003cem>Doctor Atomic\u003c/em>, which premiered at San Francisco Opera. Conductor \u003cspan style=\"font-weight: 400\">Constantine Orbelian and producer Vilius Keras, both locals, could take home the Best Opera Recording award for their work on Verdi’s \u003cem>Rigoletto\u003c/em> with the Kaunas City Symphony Orchestra and the Men Of The Kaunas State Choir. And in Contemporary Classical Composition, Bates competes against fellow Bay Area composer Jake Heggie, who is nominated for his farcical meta-opera \u003cem>Great Scott\u003c/em>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>“I think getting this far does reflect a whole village,” says Bates of reaching Grammy-level contention. “There’s the singers, who are amazing, and obviously there’s the recording engineers. And then there’s the music and libretto—and that is the anchor of it all—but it all has to work together.”\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, one of the country’s most boundary-pushing string ensembles, is in the running for Best Chamber Music/Small Ensemble Performance with \u003cem>Landfall\u003c/em>, the moody and surrealist album they recorded with musician and performance artist Laurie Anderson. And veteran Bay Area engineers Keith O. Johnson and Sean Royce Martin are up for Best Engineered Classical Album for their work on the Dallas Winds’ \u003cem>John Williams at the Movies\u003c/em>, competing against fellow local engineer Shawn Murphy, who worked on Andris Nelsons and Boston Symphony Orchestra’s rendition of Shostakovich’s Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[The recordings] that have merit—it’s a lot more than technical do-how,” says Keith O. Johnson, explaining that engineering the Dallas Winds’ renditions of Williams’ classic theme songs for \u003cem>Superman\u003c/em> and \u003cem>Star Wars\u003c/em> required creative decision-making such as knowing when to emphasize a soloist or re-position the listener’s vantage point from the audience to the orchestra pit. “[The Recording Academy] is interested in performance, emotions, feelings, drama, staging—the kinds of things that make a recording something special to listen to.”\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/ddTQmLyfbqo'\n title='//www.youtube.com/embed/ddTQmLyfbqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although the Grammys aren’t quite as prestigious in the classical music world as the Pulitzer Prize—and, according to industry insiders, don’t make a big difference in sales—some critics argue that the Grammys’ emphasis on contemporary and historical works alike reward orchestras for taking risks.\u003c/p>\n\u003cp>“These days, the classical Grammys are much more closely linked to live orchestral performance than they’ve been for quite some time,” writes Anne Midgette for \u003cem>\u003ca href=\"https://www.washingtonpost.com/entertainment/music/orchestras-dont-get-record-deals-any-more-the-grammys-show-a-silver-lining/2019/02/07/161ebcc4-2990-11e9-b011-d8500644dc98_story.html?noredirect=on&utm_term=.12e0fceb1a00\" target=\"_blank\" rel=\"noopener\">The Washington Post\u003c/a>\u003c/em>. “That’s because most orchestral recordings these days are made during performances, and are issued, in many cases, on orchestras’ own in-house labels. Recording, increasingly, is part of an orchestra’s mandate. And since, as we’ve seen, recordings tend to feature different repertoire than standard subscription programs, this trend of recording concerts for release is contributing, slowly but surely, to a perceptible broadening of the orchestral repertoire.”\u003c/p>\n\u003cp>Though the winners of the classical and opera categories won’t be seen on TV this Sunday at the Grammys, it’s heartening to know that the Bay Area’s forward-thinking classical music talent is recognized on such a mainstream platform.\u003c/p>\n\u003cp>As Kronos Quartet’s David Harrington jokes: “\u003cem>Landfall\u003c/em> for \u003ca href=\"https://www.grammy.com/grammys/news/album-year-nominees-revealed-2019-grammy-awards\" target=\"_blank\" rel=\"noopener\">Album of the Year\u003c/a>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility",
"headTitle": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak Da Sneak has caught a break from prison—for now.\u003c/p>\n\u003cp>Keak da Sneak was scheduled to begin a prison sentence in California’s Amador County earlier today, Feb. 7. But at his hearing, Judge J.S. Hermanson granted the “Super Hyphy” rapper an additional 60 days due to his medical condition. His new sentencing date is April 11.\u003c/p>\n\u003cp>Last week, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that Keak Da Sneak, a longtime fixture in Bay Area hip-hop, awaited a 16-month sentence in California state prison for possession of a firearm is a convicted felon. In an exclusive interview, Keak, whose real name is Charles Kente Williams, said that though California law prohibits him from owning a gun due to his criminal record, he took it upon himself to carry one for protection after surviving a shooting in Oakland in January 2017.\u003c/p>\n\u003cp>The criminal case against Williams began in March 2017 after a police officer searched his car at a gas station in Amador County and found the gun. As the case was ongoing, Williams’ health took a drastic turn for the worse. In August of that year, he was the victim of another shooting in Richmond. The incident left him in critical condition, and he now uses a wheelchair full-time, as well as a catheter and colostomy bag. A nurse comes to his house three times a week to clean his bed sores, which can lead to a dangerous infection if not cared for properly. [contextly_sidebar id=”YIUAUZvMN0J60n2f0nipIYPh9CJhf2QY”]\u003c/p>\n\u003cp>Because of the severity of his medical condition, Williams is lobbying for an alternative sentence of house arrest instead of prison time. According to disability rights experts, not all California state prisons are ADA accessible, and even fewer can accommodate an inmate who requires regular medical care for a chronic condition. The California Department of Corrections and Rehabilitation’s medical system has been \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">under federal oversight\u003c/a> since 2006, when a federal court ruled it unconstitutionally inadequate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Am I gonna get the treatment I’m getting out here? I don’t think so,” Williams said last week. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>After KQED broke the story, popular hip-hop publications like \u003cem>Vibe\u003c/em> and \u003cem>XXL\u003c/em> as well as several TV news stations helped draw national attention to Williams’ case. Prominent activists like Shaun King retweeted KQED’s story, and Bay Area rap stars like \u003ca href=\"https://twitter.com/E40/status/1091456244961820672\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BtUH5YThFMx/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B.\u003c/a> shared their support on social media. A \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> asking for alternative sentencing has over 43,491 signatures and counting.\u003c/p>\n\u003cp>In a phone call, Williams’ manager Chris Thomas said that the extensive media coverage as well as testimony from Williams’ doctor helped sway the judge’s decision. Thomas sees the 60-day extension as a positive sign, but says that Williams’ legal team will continue to fight for alternative sentencing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing. We’ll update it when we learn more. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak Da Sneak has caught a break from prison—for now.\u003c/p>\n\u003cp>Keak da Sneak was scheduled to begin a prison sentence in California’s Amador County earlier today, Feb. 7. But at his hearing, Judge J.S. Hermanson granted the “Super Hyphy” rapper an additional 60 days due to his medical condition. His new sentencing date is April 11.\u003c/p>\n\u003cp>Last week, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that Keak Da Sneak, a longtime fixture in Bay Area hip-hop, awaited a 16-month sentence in California state prison for possession of a firearm is a convicted felon. In an exclusive interview, Keak, whose real name is Charles Kente Williams, said that though California law prohibits him from owning a gun due to his criminal record, he took it upon himself to carry one for protection after surviving a shooting in Oakland in January 2017.\u003c/p>\n\u003cp>The criminal case against Williams began in March 2017 after a police officer searched his car at a gas station in Amador County and found the gun. As the case was ongoing, Williams’ health took a drastic turn for the worse. In August of that year, he was the victim of another shooting in Richmond. The incident left him in critical condition, and he now uses a wheelchair full-time, as well as a catheter and colostomy bag. A nurse comes to his house three times a week to clean his bed sores, which can lead to a dangerous infection if not cared for properly. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Because of the severity of his medical condition, Williams is lobbying for an alternative sentence of house arrest instead of prison time. According to disability rights experts, not all California state prisons are ADA accessible, and even fewer can accommodate an inmate who requires regular medical care for a chronic condition. The California Department of Corrections and Rehabilitation’s medical system has been \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">under federal oversight\u003c/a> since 2006, when a federal court ruled it unconstitutionally inadequate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Am I gonna get the treatment I’m getting out here? I don’t think so,” Williams said last week. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>After KQED broke the story, popular hip-hop publications like \u003cem>Vibe\u003c/em> and \u003cem>XXL\u003c/em> as well as several TV news stations helped draw national attention to Williams’ case. Prominent activists like Shaun King retweeted KQED’s story, and Bay Area rap stars like \u003ca href=\"https://twitter.com/E40/status/1091456244961820672\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BtUH5YThFMx/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B.\u003c/a> shared their support on social media. A \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> asking for alternative sentencing has over 43,491 signatures and counting.\u003c/p>\n\u003cp>In a phone call, Williams’ manager Chris Thomas said that the extensive media coverage as well as testimony from Williams’ doctor helped sway the judge’s decision. Thomas sees the 60-day extension as a positive sign, but says that Williams’ legal team will continue to fight for alternative sentencing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing. We’ll update it when we learn more. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re on the search for Lizzo tickets, chances are you discovered the glory of Lizzo through the “\u003ca href=\"https://twitter.com/lizzo/status/1053517705037471744?lang=en\" rel=\"noopener\" target=\"_blank\">play the flute and hit the shoot\u003c/a>” tweet heard ’round the world.\u003c/p>\n\u003cp>But if you’ve heard even ten seconds of Lizzo’s latest bop, “\u003ca href=\"https://www.kqed.org/arts/13848113/lizzo-serves-up-some-fresh-pressed-80s-inspired-juice\" rel=\"noopener\" target=\"_blank\">Juice\u003c/a>,” you know that Lizzo is more than a viral fad. Simply put, the onetime Prince collaborator and \u003cem>RuPaul’s Drag Race\u003c/em> judge is here to take over the world. \u003c/p>\n\u003cp>Lizzo plays the Warfield in San Francisco on April 24, and \u003ca href=\"https://www.axs.com/events/368711/lizzo-tickets?x=x\" rel=\"noopener\" target=\"_blank\">tickets go on sale\u003c/a> to the general public on Friday, Feb. 8, at 10am. But don’t be left in the dust. \u003ca href=\"https://www.axs.com/events/368711/lizzo-tickets?x=x\" rel=\"noopener\" target=\"_blank\">Presale tickets\u003c/a> go up Thursday, Feb. 7, at 10am, and the presale code is GVLOVESYOU.\u003c/p>\n\u003cp>Be \u003ca href=\"https://www.axs.com/events/368711/lizzo-tickets?x=x\">quick with the click here at 10am\u003c/a>, use the code GVLOVESYOU, and you’re in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re on the search for Lizzo tickets, chances are you discovered the glory of Lizzo through the “\u003ca href=\"https://twitter.com/lizzo/status/1053517705037471744?lang=en\" rel=\"noopener\" target=\"_blank\">play the flute and hit the shoot\u003c/a>” tweet heard ’round the world.\u003c/p>\n\u003cp>But if you’ve heard even ten seconds of Lizzo’s latest bop, “\u003ca href=\"https://www.kqed.org/arts/13848113/lizzo-serves-up-some-fresh-pressed-80s-inspired-juice\" rel=\"noopener\" target=\"_blank\">Juice\u003c/a>,” you know that Lizzo is more than a viral fad. Simply put, the onetime Prince collaborator and \u003cem>RuPaul’s Drag Race\u003c/em> judge is here to take over the world. \u003c/p>\n\u003cp>Lizzo plays the Warfield in San Francisco on April 24, and \u003ca href=\"https://www.axs.com/events/368711/lizzo-tickets?x=x\" rel=\"noopener\" target=\"_blank\">tickets go on sale\u003c/a> to the general public on Friday, Feb. 8, at 10am. But don’t be left in the dust. \u003ca href=\"https://www.axs.com/events/368711/lizzo-tickets?x=x\" rel=\"noopener\" target=\"_blank\">Presale tickets\u003c/a> go up Thursday, Feb. 7, at 10am, and the presale code is GVLOVESYOU.\u003c/p>\n\u003cp>Be \u003ca href=\"https://www.axs.com/events/368711/lizzo-tickets?x=x\">quick with the click here at 10am\u003c/a>, use the code GVLOVESYOU, and you’re in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”lCEwS3PBLnlGyiWfQ4VZBFKIhDgVl3VG”]\u003c/p>\n\u003cp>The business struggled in the late 1970s, with Mel resorting to selling items such as posters and water pipes. Betty, who’d by then remarried, returned to run the store. By the 1980s, she refocused the selection on gospel, even making the news for refusing to stock hip-hop.\u003c/p>\n\u003cp>Diara has run the shop since the 1990s. In recent years she presented gospel concerts in Richmond, but found a much cooler reception than her father did in the 1950s. “The African-American community we served for 75 years doesn’t exist here anymore,” she told Berkeleyside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mel died in 1988. Betty Reid Soskin, 97, is today \u003ca href=\"https://www.kqed.org/forum/201506101000/americas-oldest-park-ranger-brings-history-to-life-at-richmonds-rosie-the-riveter-park\">known\u003c/a> as the country’s oldest Park Ranger. Last year she published a memoir, \u003cem>Sign My Name to Freedom\u003c/em>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The business struggled in the late 1970s, with Mel resorting to selling items such as posters and water pipes. Betty, who’d by then remarried, returned to run the store. By the 1980s, she refocused the selection on gospel, even making the news for refusing to stock hip-hop.\u003c/p>\n\u003cp>Diara has run the shop since the 1990s. In recent years she presented gospel concerts in Richmond, but found a much cooler reception than her father did in the 1950s. “The African-American community we served for 75 years doesn’t exist here anymore,” she told Berkeleyside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mel died in 1988. Betty Reid Soskin, 97, is today \u003ca href=\"https://www.kqed.org/forum/201506101000/americas-oldest-park-ranger-brings-history-to-life-at-richmonds-rosie-the-riveter-park\">known\u003c/a> as the country’s oldest Park Ranger. Last year she published a memoir, \u003cem>Sign My Name to Freedom\u003c/em>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands",
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"content": "\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. [contextly_sidebar id=”M02WlLvasLOY4Nr5liulnoTByM8DUWqb”]\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” [contextly_sidebar id=”PK16JBKPiZNgDb9e5ewQLNLkdKFK9QEA”]\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like any good origin story, poet and critic Hanif Abdurraqib’s \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em> begins \u003cem>in the beginning: \u003c/em>“In the beginning, somewhere south of anywhere I come from, lips pressed the edge of a horn…. In the beginning before the beginning, there were drums, and hymns, and a people carried here.”\u003c/p>\n\u003cfigure id=\"attachment_13850148\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13850148 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png\" alt=\"'Go Ahead in the Rain: Notes to a Tribe Called Quest' by Hanif Abdurraqib\" width=\"300\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr-160x218.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Go Ahead in the Rain: Notes to a Tribe Called Quest’ by Hanif Abdurraqib\u003c/figcaption>\u003c/figure>\n\u003cp>Abdurraqib unspools history from here, carrying the reader through centuries of African-American music-making in a capacious few pages that end with the 1990 release of A Tribe Called Quest’s first album, \u003cem>People’s Instinctive Travels and the Paths of Rhythm\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Go Ahead in the Rain \u003c/em>is at once an extended critical essay, a hip-hop history, and a series of love letters to A Tribe Called Quest, and particularly to the group’s two star MCs, Q-Tip and Phife Dawg. In his two previous books, \u003cem>The Crown Ain’t Worth Much \u003c/em>and \u003cem>They Can’t Kill Us Until They Kill Us\u003c/em>, Abdurraqib demonstrated his expertise at compressing massive emotions into minimal space. Here, he takes that skill up yet another notch. He has a seemingly limitless capacity to share what moves him, which means that to read \u003cem>Go Ahead in the Rain\u003c/em>, you don’t need to be a Tribe Called Quest fan: Abdurraqib will make you one. His love for the group is infectious, even when it breaks his heart.\u003c/p>\n\u003cp>[contextly_sidebar id=”mSFh9cXrIsdfUVtAj1opXnxe9aFsfPMl”]\u003c/p>\n\u003cp>The story of A Tribe Called Quest is, from a certain vantage, heartbreaking. From most, it’s mythic. Childhood friends Q-Tip and Phife Dawg began rapping as high schoolers in Queens, using music “as a bridge to each other.” By the time they were 25, they had become one of hip-hop’s greatest groups. They rooted their sound in jazz like few rappers before them, creating a sound that both honored and transformed the past. They were crucial members of the Afrocentric hip-hop collective Native Tongues, and Q-Tip and producer Ali Shaheed Muhammad became two-thirds of The Ummah, a production collective that made songs for Janet Jackson, Whitney Houston, and many more. Meanwhile, their own albums made them undisputed stars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Q-Tip overshadowed Phife Dawg, and tensions between the two rose until 1999, when A Tribe Called Quest released their fifth album and then broke up. When the group reunited in 2016, Phife Dawg was suffering from the diabetes that had long plagued him — on \u003cem>Midnight Marauders\u003c/em>, Tribe’s third album, he rapped, “When’s the last time you heard a funky diabetic?” — and before A Tribe Called Quest’s final album came out, Phife was dead.\u003c/p>\n\u003cp>[contextly_sidebar id=”0mPsHAzxO82dniZHQCvtkMBjwccrfA51″]\u003c/p>\n\u003cp>Abdurraqib does not shy from his sadness over the group’s breakup or Phife Dawg’s death, but \u003cem>Go Ahead in the Rain \u003c/em>is not a sad book. Instead, it’s steeped in gratitude and joy. Abdurraqib celebrates Tribe’s invocation of jazz, their “rap music for our parents and theirs [that] left the door open wide enough for anyone to sneak through.” He weaves his own memories of A Tribe Called Quest with the group’s history, imbuing music history with empathy and locating his past self in music history. A particular standout on that front is the third chapter, in which Abdurraqib moves smoothly from his own teenage friendships to how he imagines it felt to be in Native Tongues. “The thing about Native Tongues,” he concludes, “is that they were like my crew, or potentially your crew. They were uncool enough to define a new type of cool on their own terms… The Native Tongues briefly built a world in which they knew themselves as each other’s people.”\u003c/p>\n\u003cp>\u003cem>Potentially your crew \u003c/em>is the key to that passage, and to Abdurraqib’s critical approach. Without fail or hesitation, he invites the reader into the text. Even his deepest dives into history and technique have a come-with-me spirit. Take his chapter on production, which he roots equally in technique and philosophy. When A Tribe Called Quest emerged, hip-hop beats were made through the painstaking process of sampling other songs’ rhythms and riffs. In \u003cem>Black Noise\u003c/em>, her seminal study of rap music, Tricia Rose used Tribe to demonstrate the power of sampling: “A Tribe Called Quest’s ‘Verses from the Abstract’ features Ron Carter on bass but the hip hop drum lines completely recontextualize Carter’s jazz sound.” To Abdurraqib, Tribe’s production did more than recontextualize. He calls it “the art of resurrection,” and he admires it with all his huge heart. In a letter to Q-Tip, he writes, “I love the sample as you love the sample, Tip — for how it can be extracted from the past and stretched over a sound reaching for the future.”\u003c/p>\n\u003cp>[contextly_sidebar id=”OMS8qNWxkgDsSQcgIZhuO9sFhmyUwzj0″]\u003c/p>\n\u003cp>You don’t need to be a Tribe Called Quest fan to read \u003cem>Go Ahead in the Rain\u003c/em>, and I envy the reader who comes to their music through Abdurraqib’s prose, but this is not (or not only) a book for beginners. I have been listening to A Tribe Called Quest my whole musically conscious life, and yet \u003cem>Go Ahead in the Rain \u003c/em>made their records sound new. Listening to \u003cem>People’s Instinctive Travels \u003c/em>now, I hear the introduction to “After Hours” as a warm cavern of sound. The first bars of “Push It Along” glitter like geodes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This comes from deepened knowledge and understanding, but it also comes from absorbing Abdurraqib’s love, which reinvigorated my own. This, too, is a way of reaching for the future: to write about music so beautifully and intelligently that readers are moved to love it, or reminded to love it more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Go+Ahead+In+The+Rain%2C%27+The+Love+For+A+Tribe+Called+Quest+Is+Infectious&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like any good origin story, poet and critic Hanif Abdurraqib’s \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em> begins \u003cem>in the beginning: \u003c/em>“In the beginning, somewhere south of anywhere I come from, lips pressed the edge of a horn…. In the beginning before the beginning, there were drums, and hymns, and a people carried here.”\u003c/p>\n\u003cfigure id=\"attachment_13850148\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13850148 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png\" alt=\"'Go Ahead in the Rain: Notes to a Tribe Called Quest' by Hanif Abdurraqib\" width=\"300\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr-160x218.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Go Ahead in the Rain: Notes to a Tribe Called Quest’ by Hanif Abdurraqib\u003c/figcaption>\u003c/figure>\n\u003cp>Abdurraqib unspools history from here, carrying the reader through centuries of African-American music-making in a capacious few pages that end with the 1990 release of A Tribe Called Quest’s first album, \u003cem>People’s Instinctive Travels and the Paths of Rhythm\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Go Ahead in the Rain \u003c/em>is at once an extended critical essay, a hip-hop history, and a series of love letters to A Tribe Called Quest, and particularly to the group’s two star MCs, Q-Tip and Phife Dawg. In his two previous books, \u003cem>The Crown Ain’t Worth Much \u003c/em>and \u003cem>They Can’t Kill Us Until They Kill Us\u003c/em>, Abdurraqib demonstrated his expertise at compressing massive emotions into minimal space. Here, he takes that skill up yet another notch. He has a seemingly limitless capacity to share what moves him, which means that to read \u003cem>Go Ahead in the Rain\u003c/em>, you don’t need to be a Tribe Called Quest fan: Abdurraqib will make you one. His love for the group is infectious, even when it breaks his heart.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The story of A Tribe Called Quest is, from a certain vantage, heartbreaking. From most, it’s mythic. Childhood friends Q-Tip and Phife Dawg began rapping as high schoolers in Queens, using music “as a bridge to each other.” By the time they were 25, they had become one of hip-hop’s greatest groups. They rooted their sound in jazz like few rappers before them, creating a sound that both honored and transformed the past. They were crucial members of the Afrocentric hip-hop collective Native Tongues, and Q-Tip and producer Ali Shaheed Muhammad became two-thirds of The Ummah, a production collective that made songs for Janet Jackson, Whitney Houston, and many more. Meanwhile, their own albums made them undisputed stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Q-Tip overshadowed Phife Dawg, and tensions between the two rose until 1999, when A Tribe Called Quest released their fifth album and then broke up. When the group reunited in 2016, Phife Dawg was suffering from the diabetes that had long plagued him — on \u003cem>Midnight Marauders\u003c/em>, Tribe’s third album, he rapped, “When’s the last time you heard a funky diabetic?” — and before A Tribe Called Quest’s final album came out, Phife was dead.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Abdurraqib does not shy from his sadness over the group’s breakup or Phife Dawg’s death, but \u003cem>Go Ahead in the Rain \u003c/em>is not a sad book. Instead, it’s steeped in gratitude and joy. Abdurraqib celebrates Tribe’s invocation of jazz, their “rap music for our parents and theirs [that] left the door open wide enough for anyone to sneak through.” He weaves his own memories of A Tribe Called Quest with the group’s history, imbuing music history with empathy and locating his past self in music history. A particular standout on that front is the third chapter, in which Abdurraqib moves smoothly from his own teenage friendships to how he imagines it felt to be in Native Tongues. “The thing about Native Tongues,” he concludes, “is that they were like my crew, or potentially your crew. They were uncool enough to define a new type of cool on their own terms… The Native Tongues briefly built a world in which they knew themselves as each other’s people.”\u003c/p>\n\u003cp>\u003cem>Potentially your crew \u003c/em>is the key to that passage, and to Abdurraqib’s critical approach. Without fail or hesitation, he invites the reader into the text. Even his deepest dives into history and technique have a come-with-me spirit. Take his chapter on production, which he roots equally in technique and philosophy. When A Tribe Called Quest emerged, hip-hop beats were made through the painstaking process of sampling other songs’ rhythms and riffs. In \u003cem>Black Noise\u003c/em>, her seminal study of rap music, Tricia Rose used Tribe to demonstrate the power of sampling: “A Tribe Called Quest’s ‘Verses from the Abstract’ features Ron Carter on bass but the hip hop drum lines completely recontextualize Carter’s jazz sound.” To Abdurraqib, Tribe’s production did more than recontextualize. He calls it “the art of resurrection,” and he admires it with all his huge heart. In a letter to Q-Tip, he writes, “I love the sample as you love the sample, Tip — for how it can be extracted from the past and stretched over a sound reaching for the future.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>You don’t need to be a Tribe Called Quest fan to read \u003cem>Go Ahead in the Rain\u003c/em>, and I envy the reader who comes to their music through Abdurraqib’s prose, but this is not (or not only) a book for beginners. I have been listening to A Tribe Called Quest my whole musically conscious life, and yet \u003cem>Go Ahead in the Rain \u003c/em>made their records sound new. Listening to \u003cem>People’s Instinctive Travels \u003c/em>now, I hear the introduction to “After Hours” as a warm cavern of sound. The first bars of “Push It Along” glitter like geodes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This comes from deepened knowledge and understanding, but it also comes from absorbing Abdurraqib’s love, which reinvigorated my own. This, too, is a way of reaching for the future: to write about music so beautifully and intelligently that readers are moved to love it, or reminded to love it more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Go+Ahead+In+The+Rain%2C%27+The+Love+For+A+Tribe+Called+Quest+Is+Infectious&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ve always felt like chasing the bag is an endless pursuit. And evidently, I’m not alone.\u003c/p>\n\u003cp>Oakland hip-hop collective \u003ca href=\"https://www.instagram.com/lofiction/?hl=en\" target=\"_blank\" rel=\"noopener\">Lo-Fiction\u003c/a>‘s new video, “\u003ca href=\"https://www.youtube.com/watch?v=47wQA1GuHvc&feature=youtu.be\">Nike Check\u003c/a>,” illustrates the permanent pursuit of the purse. As a canvas bag of money floats through the streets, the group’s seven members race after it, always out of reach. It’s simple and effective, and the best part: it didn’t cost them too much to make.\u003c/p>\n\u003cp>“We got a sack, some string from my grandma’s sewing kit, and tied it to my girlfriend’s car,” Nimsins, one of the group’s MCs, told me during a phone call. “We just wanted to make it realistic, and do what we normally do.”\u003c/p>\n\u003cp>Maybe that’s what caught my eye—it’s kind of normal. It also looks like it was fun to make. As Nimsins said, “We put the filmmaker in the trunk, and we made it work.”\u003c/p>\n\u003cp>https://youtu.be/47wQA1GuHvc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ericbui/\">Eric Bui\u003c/a>, the filmmaker in the trunk, is originally from Tracy. He’s lived in Oakland for about four years, during which he’s worked with Nimsins on a couple of videos.\u003c/p>\n\u003cp>“I’m happy they came up this idea,” Bui told me during a phone call. “It’s a reality, especially within the music industry—and they’re making light of it. They’re making fun of it while doing it: literally chasing the bag.”\u003c/p>\n\u003cp>Due to having so many takes, the video was a workout for Lo-Fiction, who ran on and off for several hours. Bui, at 25 years old, is just a bit older than the Lo-Fiction crew—the members are all in their early 20s—but he’s appreciated seeing their growth.\u003c/p>\n\u003cp>“Shout out and respect to those kids,” Bui tells me. “I respect their craft, their sound and their whole aesthetic,” noting that their sampling, beats and structure as a collective are reminiscent of another East Oakland group—Hieroglyphics.\u003c/p>\n\u003cfigure id=\"attachment_13850024\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850024\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/IMG_1203-800x449.jpg\" alt=\"The bag we all chase. (Screen grab from the Nike Check video)\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">The bag we all chase. (Screen grab from the Nike Check video)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with Nimsins, the group consists of Keese Sama, SemCity Chris, Esosa, Jafari, Giahni, and Jamal. About a year ago they released a cassette mixtape, \u003cem>Lo-Fiction and Friends Vol. 1\u003c/em>, and last month they sidestepped conventional nightclubs for \u003ca href=\"https://www.instagram.com/p/BstlZ9RFhu2/\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> at Berkeley punk warehouse 924 Gilman. All of them grew up together, mostly in East Oakland’s Seminary neighborhood; Sem-City, as some call it.\u003c/p>\n\u003cp>“Every time we shoot videos, we just see people we know, and people just jump in the video,” Nimsins said. “Something about East Oakland, people don’t do a lot of filming out here. People were just jumping in, and driving the cars behind us. Little kids even got in it!”\u003c/p>\n\u003cp>Before he got off the phone, Nimsins told me that although the video has a relatively low view count thus far, the support from friends and family has been great.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The way I see it, it has the potential to go a lot further—because while the video is hella local, the concept is truly universal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ericbui/\">Eric Bui\u003c/a>, the filmmaker in the trunk, is originally from Tracy. He’s lived in Oakland for about four years, during which he’s worked with Nimsins on a couple of videos.\u003c/p>\n\u003cp>“I’m happy they came up this idea,” Bui told me during a phone call. “It’s a reality, especially within the music industry—and they’re making light of it. They’re making fun of it while doing it: literally chasing the bag.”\u003c/p>\n\u003cp>Due to having so many takes, the video was a workout for Lo-Fiction, who ran on and off for several hours. Bui, at 25 years old, is just a bit older than the Lo-Fiction crew—the members are all in their early 20s—but he’s appreciated seeing their growth.\u003c/p>\n\u003cp>“Shout out and respect to those kids,” Bui tells me. “I respect their craft, their sound and their whole aesthetic,” noting that their sampling, beats and structure as a collective are reminiscent of another East Oakland group—Hieroglyphics.\u003c/p>\n\u003cfigure id=\"attachment_13850024\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850024\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/IMG_1203-800x449.jpg\" alt=\"The bag we all chase. (Screen grab from the Nike Check video)\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">The bag we all chase. (Screen grab from the Nike Check video)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with Nimsins, the group consists of Keese Sama, SemCity Chris, Esosa, Jafari, Giahni, and Jamal. About a year ago they released a cassette mixtape, \u003cem>Lo-Fiction and Friends Vol. 1\u003c/em>, and last month they sidestepped conventional nightclubs for \u003ca href=\"https://www.instagram.com/p/BstlZ9RFhu2/\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> at Berkeley punk warehouse 924 Gilman. All of them grew up together, mostly in East Oakland’s Seminary neighborhood; Sem-City, as some call it.\u003c/p>\n\u003cp>“Every time we shoot videos, we just see people we know, and people just jump in the video,” Nimsins said. “Something about East Oakland, people don’t do a lot of filming out here. People were just jumping in, and driving the cars behind us. Little kids even got in it!”\u003c/p>\n\u003cp>Before he got off the phone, Nimsins told me that although the video has a relatively low view count thus far, the support from friends and family has been great.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The way I see it, it has the potential to go a lot further—because while the video is hella local, the concept is truly universal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not every day you get to read the phrases “bird migration,” “experimental music” and “decommissioned Navy base” in the same sentence, but here we go!\u003c/p>\n\u003cp>Coinciding with the \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival_2019/San_Francisco_Bay_Flyway_Festival_Home_Welcome.html\" target=\"_blank\" rel=\"noopener\">2019 San Francisco Bay Flyway Festival\u003c/a>, an annual weekend-long celebration of shorebird, duck, geese and hawk migration through the Bay, the experimental music series \u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener\">Re:Sound\u003c/a> returns for its fourth year of super-resonant concerts on Saturday, Feb. 9.\u003c/p>\n\u003cp>[contextly_sidebar id=”qgQEXHs5sp9T0G1nOPT8v2MqTrIEDPsz”]\u003c/p>\n\u003cp>Re:Sound is the brainchild of Jen Boyd, herself a Vallejo-based sound artist, who began organizing performances in A-168, a former munitions storage magazine in the Mare Island Shoreline Heritage Preserve, in February 2015. The concerts take place in a concrete building in the middle of a 215-acre park at the southern end of the island, across the Napa River from Vallejo. Re:Sound brings experimental and abstracted sound into conversation with a forgotten, extremely echoey space (there’s a six-second reverb in the concrete building), and the surrounding natural environment.\u003c/p>\n\u003cp>Every year, the Flyway Festival \u003ca href=\"https://www.timesheraldonline.com/2018/02/10/thousands-flock-to-2018-flyway-festival/\" rel=\"noopener\" target=\"_blank\">draws thousands\u003c/a> to Mare Island—casual nature lovers and professional birders alike. And if our own KQED Arts contributor Lakshmi Sarah \u003ca href=\"https://www.kqed.org/arts/11350207/migrating-through-experimental-sound-and-samosas-on-mare-island\" rel=\"noopener\" target=\"_blank\">is any judge\u003c/a>, Re:Sound is likewise for all audiences.\u003c/p>\n\u003cfigure id=\"attachment_11174532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg\" alt=\"The interior, resounding space of the Re:Sound building.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11174532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The interior, resounding space of the Re:Sound building. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is all to say, do not be intimidated when composers Manfred Werder and Michael Pisaro are described in the Feb. 9 “Migrations” program as “members of the \u003ca href=\"https://en.wikipedia.org/wiki/Wandelweiser\" rel=\"noopener\" target=\"_blank\">international Wandelweiser collective\u003c/a>,” and you have no idea what the international Wandelweiser collective is. Rounding out the bill is Oakland-based electroacoustic duo OMMO (Julie Moon and Adria Otte), whose collaboration began as a way to investigate the complexities and histories of the Korean diaspora—and both artists’ place in it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Come for the ethereal, abstracted sounds, stay for the epic display of wildlife in motion.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003ci>Re:Sound Migration takes place Saturday, Feb. 9 at (doors at 3:30pm, sound at 4pm) in Magazine A-168 at Azuar Ave and Mercado Ct, Vallejo. Tickets are $10–15 sliding scale. \u003ca href=\"http://www.re-sound.net/new-events-1/2019/2/9/resound-migration\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not every day you get to read the phrases “bird migration,” “experimental music” and “decommissioned Navy base” in the same sentence, but here we go!\u003c/p>\n\u003cp>Coinciding with the \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival_2019/San_Francisco_Bay_Flyway_Festival_Home_Welcome.html\" target=\"_blank\" rel=\"noopener\">2019 San Francisco Bay Flyway Festival\u003c/a>, an annual weekend-long celebration of shorebird, duck, geese and hawk migration through the Bay, the experimental music series \u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener\">Re:Sound\u003c/a> returns for its fourth year of super-resonant concerts on Saturday, Feb. 9.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Re:Sound is the brainchild of Jen Boyd, herself a Vallejo-based sound artist, who began organizing performances in A-168, a former munitions storage magazine in the Mare Island Shoreline Heritage Preserve, in February 2015. The concerts take place in a concrete building in the middle of a 215-acre park at the southern end of the island, across the Napa River from Vallejo. Re:Sound brings experimental and abstracted sound into conversation with a forgotten, extremely echoey space (there’s a six-second reverb in the concrete building), and the surrounding natural environment.\u003c/p>\n\u003cp>Every year, the Flyway Festival \u003ca href=\"https://www.timesheraldonline.com/2018/02/10/thousands-flock-to-2018-flyway-festival/\" rel=\"noopener\" target=\"_blank\">draws thousands\u003c/a> to Mare Island—casual nature lovers and professional birders alike. And if our own KQED Arts contributor Lakshmi Sarah \u003ca href=\"https://www.kqed.org/arts/11350207/migrating-through-experimental-sound-and-samosas-on-mare-island\" rel=\"noopener\" target=\"_blank\">is any judge\u003c/a>, Re:Sound is likewise for all audiences.\u003c/p>\n\u003cfigure id=\"attachment_11174532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg\" alt=\"The interior, resounding space of the Re:Sound building.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11174532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The interior, resounding space of the Re:Sound building. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is all to say, do not be intimidated when composers Manfred Werder and Michael Pisaro are described in the Feb. 9 “Migrations” program as “members of the \u003ca href=\"https://en.wikipedia.org/wiki/Wandelweiser\" rel=\"noopener\" target=\"_blank\">international Wandelweiser collective\u003c/a>,” and you have no idea what the international Wandelweiser collective is. Rounding out the bill is Oakland-based electroacoustic duo OMMO (Julie Moon and Adria Otte), whose collaboration began as a way to investigate the complexities and histories of the Korean diaspora—and both artists’ place in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Come for the ethereal, abstracted sounds, stay for the epic display of wildlife in motion.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003ci>Re:Sound Migration takes place Saturday, Feb. 9 at (doors at 3:30pm, sound at 4pm) in Magazine A-168 at Azuar Ave and Mercado Ct, Vallejo. Tickets are $10–15 sliding scale. \u003ca href=\"http://www.re-sound.net/new-events-1/2019/2/9/resound-migration\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
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"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"order": 3
},
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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