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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>[contextly_sidebar id=”Ha5svAAi8Zslyjc3JqBqXfDabF8MFrw1″]\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>[contextly_sidebar id=”DMf1ODGcpbeCNWOWhrvuSN4UqRmuD85q”]\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>[contextly_sidebar id=”UJzjaVKBf7EWvsAG4JIywoh6RlrhfnBa”]\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>[contextly_sidebar id=”8bxwzliUPiq2MOthqTcnHy39VWFV2er5″]\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\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/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\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/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\u003c/p>\n\u003cp>https://youtu.be/v4xZUr0BEfE\u003c/p>\n\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>[contextly_sidebar id=”JxRWoeCTCMYbRutfZi5Qyvdn5DJiKkPu”]\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>[contextly_sidebar id=”s8PTLJLutxF2ttSG4KdvJ7OIWfAqSLW7″]\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A band from Mongolia that blends the screaming guitars of heavy metal and traditional Mongolian guttural singing has picked up 7 million views for its two videos.\u003c/p>\n\u003cp>Leather jackets, skull rings and bandannas alongside intricately carved Mongolian horsehead fiddles are just some of the images in the first two music videos the Mongolian band The Hu released on YouTube this fall. Excited listeners from around the globe have posted comments like: “This makes me want to ride a horse and shoot people with a bow” and “This sounds like ancient mongol rock of 1000 b.c. Really badass!” (sic)\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/v4xZUr0BEfE'\n title='//www.youtube.com/embed/v4xZUr0BEfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet what The Hu is doing, while new, comes out of a tradition that began several decades ago when Mongolia transitioned from a satellite of the Soviet Union to a democracy.\u003c/p>\n\u003cp>As the Soviet Union crumbled and Western influence flooded in during the late 1980s and early 1990s, Mongolian musicians chose to preserve Mongolian culture while also adapting new influences, explains University of Chicago ethnomusicology doctoral student \u003ca href=\"http://chicago.academia.edu/ThaleaStokes\">Thalea Stokes.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is something they continue to do today, says Stokes, who spoke via Skype from Inner Mongolia where she is studying Mongolian hip-hop. That hip-hop scene has a similar background. Although hip-hop is a relatively new import, Mongolians have rapidly adapted it, mixing “fierce ethnic pride and adventurous dancing” with social and political critique, according to Stokes’ research.\u003c/p>\n\u003cp>“Mongolians are not just taking elements from Western music and just copying and pasting,” says Stokes. Instead, they’re using some of these elements and making their own authentic music.\u003c/p>\n\u003cp>“So it’s not rock music performed by Mongolians. It’s Mongolian rock music,” she says.\u003c/p>\n\u003cp>Mongolian rock combines traditional Mongolian instruments, like a horsehead fiddle (\u003cem>morin khuur\u003c/em>), Jew’s harp (\u003cem>tumur khuur\u003c/em>) and Mongolian guitar (\u003cem>tovshuur\u003c/em>) with the pounding bass and drums of rock.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It also involves singing in a guttural way known as throat singing while throwing heads back and forth reminiscent of the headbanging of ’80s heavy metal bands like Metallica. Those who study Mongolian music believe one reason The Hu has proved so popular with outsiders is this combining of modern and historical and Eastern and Western elements.\u003c/p>\n\u003cp>The Hu call their style “hunnu rock” — from the Mongolian root word for human being: “hu.” The band spent seven years putting together its first album, which it expects to release this spring. They plan to call it \u003cem>Gereg\u003c/em>, the name for a diplomatic passport used during the time of Genghis Khan. For the album, the idea was to find, study and incorporate as much of Mongolia’s musical culture as they could into a rock style, says the band’s 52-year-old producer and songwriter, B. Dashdondog, who goes by “Dashka.”\u003c/p>\n\u003cp>Mongolian musical culture is tied up with their pastoral way of life. The two-stringed horsehead fiddle is shaped to resemble a horse and includes the carving of a horse head and strings and bow made of horsehair. It produces a sound similar to a violin and can be used to imitate the sound of a herd of horses. In throat singing, associated with pastoral herders in Central Asia, the singer produces a low constant sort of drone at the same time as a series of higher tones.\u003c/p>\n\u003cp>“We wanted to come up with our own thing that we can offer to this big music family. Make something new,” says Dashka, who spoke through a translator via Skype.\u003c/p>\n\u003cp>It is not just their instruments that incorporate traditional elements. In the band’s first song, “Yuve Yuve Yu” (What’s going on?), they mention Genghis Khan and how he was fated to bring nations together. The video begins with images of people inside playing video games, watching television and looking at their phones. A door is opened and the band’s four members step into different natural settings: cliffs, desert, forest and lake. The message they hope to convey through their lyrics and imagery is that people need to pay attention to nature and their history and culture, explains lead singer TS. Galbadrakh, known as “Gala,” 29.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It is a familiar message to \u003ca href=\"https://www.anthropology.wisc.edu/staff/hutchins-kip/\">Kip Hutchins\u003c/a>, a doctoral student in cultural anthropology at the University of Wisconsin. Lines about neglecting their ancestors — like “taking our great Mongol ancestors names in vain” — are almost exactly what was sung in the late 1980s during the transition to democracy, says Hutchins. It was then that rock became popular as a form of political protest. Soon after, Mongolians started to form folk rock and folk jazz ensembles. Band members tended to be trained in conservatories on traditional instruments.\u003c/p>\n\u003cp>The four members of The Hu all learned to play traditional Mongolian instruments at the Mongolian State conservatory. The oldest in the group, G. Nyamjantsan, who goes by “Jaya,” 35, still teaches at the conservatory. N. Temuulen aka “Temka,” 28, who plays the Mongolian guitar, says their international popularity was something they expected — but not in the millions.\u003c/p>\n\u003cp>“When we do this, we try to spiritually express this beautiful thing about Mongolian music. We think we will talk to everyone’s soul through our music,” says Temka through a translator. “But we didn’t expect this fast, people just popping up everywhere.”\u003c/p>\n\u003cp>They aren’t quite sure how it happened. Hutchins has an idea. He believes part of the appeal of bands like The Hu is the way he believes the story of Mongolia has been written in the West. Nomadism and horse culture has been romanticized, and the emphasis on freedom and heroes tends to appeal to the stereotypical male heavy metal fan.\u003c/p>\n\u003cp>“There is a kind of exoticism to Mongolia,” says Hutchins. Mongolia “is at once a community and a culture that is part of Asia and Europe at the same time.”\u003c/p>\n\u003cp>The Hu is not the only Mongolian band that has attracted recent international attention. There is the folk rock band Altan Urag, whose music was featured in the 2007 film \u003cem>Mongol\u003c/em> and in the Netflix show \u003cem>Marco Polo,\u003c/em> and the Inner Mongolian Hanggai Band.\u003c/p>\n\u003cp>Ethnomusicologist Charlotte D’Evelyn sees The Hu as trying to bring back traditions while also modernizing. For her, it is as if the band is saying, “We’re still modern and we’re living in the modern world. But we’re using this music to revive some kind of nationalistic cultural identity.”\u003c/p>\n\u003cp>Hutchins puts it another way.\u003c/p>\n\u003cp>“The Hu is obviously interested in teaching a global community about Mongolian culture as much as they’re interested in creating something Mongol.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://katyacengel.com/\">Katya Cengel\u003c/a>\u003cem> is the author of \u003c/em>\u003ca href=\"https://www.amazon.com/Exiled-Killing-Fields-Cambodia-California-ebook/dp/B07C853GF9\">Exiled: From the Killing Fields of Cambodia to California and Back\u003cem>.\u003c/em>\u003c/a>\u003cem> She reported from Mongolia in 2017 on a fellowship from the \u003c/em>\u003ca href=\"https://internationalreportingproject.org/\">International Reporting Project (IRP)\u003c/a>\u003cem>. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/kcengel\">@kcengel\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Mongolian+Heavy+Metal+Band+Got+Millions+Of+YouTube+Views&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The lineup for this year’s BottleRock festival in Napa is here, and it leans Boomerish, at least in the upper tier: Neil Young, Santana, Mumford and Sons, Imagine Dragons, Pharrell Williams and Logic top the three-day fest running May 24–26.\u003c/p>\n\u003cp>Down the list, there’s hip-hop represented by Big Boi, Too Short and Cypress Hill; punk bands like Against Me and Shannon & the Clams; ’90s techno in the form of Silent Disco DJ sets from Chemical Brothers and Paul Oakenfold; retro soul from the likes of Vintage Trouble and Con Brio; and even Jeff Goldblum singing cabaret jazz. Yes, \u003ca href=\"https://www.kqed.org/arts/13844589/jeff-goldblum-the-jazz-artist-life-uh-finds-a-way\" rel=\"noopener\" target=\"_blank\">that Jeff Goldblum\u003c/a>.\u003c/p>\n\u003cp>Three-day passes to BottleRock go on sale \u003ca href=\"https://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">right over here\u003c/a> Tuesday, Jan, 8, at 10am. Single-day tickets go on sale Thursday, Jan. 10, at 10am. \u003c/p>\n\u003cp>See the full lineup below. \u003c/p>\n\u003cp>\u003cstrong>Friday, May 24\u003c/strong>: Imagine Dragons, Logic, OneRepublic, Sylvan Esso, Flogging Molly, Jenny Lewis, AJR, Anderson East, The Dandy Warhols, lovelytheband, Paul Oakenfold (Silent Disco), Alec Benjamin, Neon Trees, Midland, Vintage Trouble, The War and Treaty, Just Loud, Shannon Shaw, flora cash, Yoke Lore, HalfNoise, The Dip, Dessa, Liz Cooper & The Stampede, Valley Queen, Jack West, Forgotten Dreamers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, May 25\u003c/strong>: Neil Young + Promise of the Real, Pharrell Williams, Nathaniel Rateliff & The Night Sweats, Gary Clark Jr., Juanes, Cypress Hill, Elle King, Marian Hill, Sir Sly, Chevy Metal, Against Me!, Madison Beer, Pink Sweat$, Shannon & the Clams, The Regrettes, White Panda (Silent Disco), Elley Duhé, Wilderado, Magic City Hippies, Moonalice, We Banjo 3, Slothrust, Jared & The Mill, Royal Jelly Jive, Rebecca Jade & The Cold Fact, The Blue Stones, The Silverado Pickups, Napa Valley Youth Symphony.\u003c/p>\n\u003cp>\u003cstrong>Sunday, May 26\u003c/strong>: Mumford & Sons, Santana, Tash Sultana, Lord Huron, Michael Franti & Spearhead, Big Boi, Citizen Cope, Bishop Briggs, Gang of Youths, Too $hort, Turkuaz, The Crystal Method (Silent Disco), Skylar Grey, Jeff Goldblum & The Mildred Snitzer Orchestra, Houses, Con Brio, The Soul Rebels, SHAED, Welles, The Teskey Brothers, Harry Hudson, Ocean Alley, Sweet Crude, John Craigie, Dustbowl Revival, Jes Frances, The Alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>BottleRock Napa Valley runs May 24–26 at the Napa Valley Expo. \u003ca href=\"https://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for this year’s BottleRock festival in Napa is here, and it leans Boomerish, at least in the upper tier: Neil Young, Santana, Mumford and Sons, Imagine Dragons, Pharrell Williams and Logic top the three-day fest running May 24–26.\u003c/p>\n\u003cp>Down the list, there’s hip-hop represented by Big Boi, Too Short and Cypress Hill; punk bands like Against Me and Shannon & the Clams; ’90s techno in the form of Silent Disco DJ sets from Chemical Brothers and Paul Oakenfold; retro soul from the likes of Vintage Trouble and Con Brio; and even Jeff Goldblum singing cabaret jazz. Yes, \u003ca href=\"https://www.kqed.org/arts/13844589/jeff-goldblum-the-jazz-artist-life-uh-finds-a-way\" rel=\"noopener\" target=\"_blank\">that Jeff Goldblum\u003c/a>.\u003c/p>\n\u003cp>Three-day passes to BottleRock go on sale \u003ca href=\"https://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">right over here\u003c/a> Tuesday, Jan, 8, at 10am. Single-day tickets go on sale Thursday, Jan. 10, at 10am. \u003c/p>\n\u003cp>See the full lineup below. \u003c/p>\n\u003cp>\u003cstrong>Friday, May 24\u003c/strong>: Imagine Dragons, Logic, OneRepublic, Sylvan Esso, Flogging Molly, Jenny Lewis, AJR, Anderson East, The Dandy Warhols, lovelytheband, Paul Oakenfold (Silent Disco), Alec Benjamin, Neon Trees, Midland, Vintage Trouble, The War and Treaty, Just Loud, Shannon Shaw, flora cash, Yoke Lore, HalfNoise, The Dip, Dessa, Liz Cooper & The Stampede, Valley Queen, Jack West, Forgotten Dreamers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, May 25\u003c/strong>: Neil Young + Promise of the Real, Pharrell Williams, Nathaniel Rateliff & The Night Sweats, Gary Clark Jr., Juanes, Cypress Hill, Elle King, Marian Hill, Sir Sly, Chevy Metal, Against Me!, Madison Beer, Pink Sweat$, Shannon & the Clams, The Regrettes, White Panda (Silent Disco), Elley Duhé, Wilderado, Magic City Hippies, Moonalice, We Banjo 3, Slothrust, Jared & The Mill, Royal Jelly Jive, Rebecca Jade & The Cold Fact, The Blue Stones, The Silverado Pickups, Napa Valley Youth Symphony.\u003c/p>\n\u003cp>\u003cstrong>Sunday, May 26\u003c/strong>: Mumford & Sons, Santana, Tash Sultana, Lord Huron, Michael Franti & Spearhead, Big Boi, Citizen Cope, Bishop Briggs, Gang of Youths, Too $hort, Turkuaz, The Crystal Method (Silent Disco), Skylar Grey, Jeff Goldblum & The Mildred Snitzer Orchestra, Houses, Con Brio, The Soul Rebels, SHAED, Welles, The Teskey Brothers, Harry Hudson, Ocean Alley, Sweet Crude, John Craigie, Dustbowl Revival, Jes Frances, The Alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>BottleRock Napa Valley runs May 24–26 at the Napa Valley Expo. \u003ca href=\"https://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you need a little bit of juice to get your New Year’s resolutions going. If that’s the case, \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> has just the thing. The Minneapolis rapper/flutist/meme legend continues her winning streak of sing-songy, funk-heavy rap with her latest single “Juice” and yet another meme-worthy music video to match.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lizzo - Juice (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/XaCrQL_8eMY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the Quinn Wilson-directed visual, Lizzo takes cues from assorted bits of ’80s nostalgia — Jane Fonda workout tapes, \u003ca href=\"https://www.youtube.com/watch?v=irFrB5LMRkM\">Soul Glo\u003c/a> commercials from \u003cem>Coming to America,\u003c/em> QVC infomercials — and shades them with her singular, life-affirming zeal. But unlike, say, the \u003ca href=\"https://www.npr.org/2018/10/11/656568210/every-single-90s-reference-in-charli-xcx-troye-sivan-s-1999-video\">time-warped reminiscing\u003c/a> of Charli XCX and Troye Sivan, Lizzo finds a way to dust some modern-day magic into the otherwise-retro video. She pays a small nod to ASMR queen Spirit Payton, better known on YouTube as \u003ca href=\"https://www.youtube.com/watch?v=GUUAu_aiaVw\">ASMRTheChew\u003c/a>.\u003c/p>\n\u003cp>Keeping with the infomercial theme, the end of the video directs the viewer to \u003ca href=\"http://blameitonmyjuice.com/\">blameitonthejuice.com\u003c/a>, which leads to a cartooned microsite housing all of Lizzo’s awesome visuals to date, and says to allow three to six weeks for delivery. Is this a timeline for Lizzo’s 2019 domination?\u003c/p>\n\u003cp>“The juice ain’t worth the squeeze if the juice don’t look like this,” Lizzo sings in the second verse. If we can muster up even a few drops of her fresh-squeezed, self-loving braggadocio to carry us all the way through the year, we should be all right.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+Serves+Up+Some+Fresh-Pressed%2C+%2780s-Inspired+%27Juice%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It was the opening night of what had originally been planned as a four-day residency for Wayne Shorter and his quartet at SFJAZZ, and the absence of the 85-year-old jazz legend, who canceled due to illness, hung in the air.\u003c/p>\n\u003cp>Then longtime friend Herbie Hancock got on the microphone.\u003c/p>\n\u003cp>“May Wayne have a happy, long life. This guy’s amazing—he’s been through so much health-wise, and now he’s in the middle of writing an opera!” Hancock said. “Can any of \u003cem>you\u003c/em> do that?”\u003c/p>\n\u003cp>And so the retooled residency—with Shorter’s enduring group of Brian Blade, Danilo Pérez and John Patitucci backing various luminaries influenced by the saxophonist and composer—became a celebration of Shorter’s music.\u003c/p>\n\u003cfigure id=\"attachment_13848119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-800x450.jpg\" alt=\"Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was no more evident then on Thursday night: Hancock (who’d suggested the show go on as a tribute when Shorter fell ill) traded keytar licks with trumpeter Terence Blanchard, dueted on piano with Pérez, and supplied atmospheric synthesizers with \u003ca href=\"https://www.ebony.com/entertainment/terrace-martin-influencers/#axzz450iZIILX\" rel=\"noopener\" target=\"_blank\">Kendrick Lamar collaborator\u003c/a> Terrace Martin on compositions like “Nefertiti” and “Visitor From Nowhere.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These were written decades, almost eras ago, right?” Hancock remarked from the stage. “They don’t \u003cem>sound\u003c/em> like that, though. Wayne’s compositions never get old—and we can’t say that about everybody.”\u003c/p>\n\u003cp>The tribute continues Friday night in a sold-out show with Branford Marsalis and Blanchard heading the group. But it’s the Saturday and Sunday shows, just on the cusp of selling out, which are grabbing more attention in my circles.\u003c/p>\n\u003cp>The reigning minister of Los Angeles’ new jazz explosion, Kamasi Washington, joins Martin to play Shorter’s music on Saturday night, while Sunday is given over to two local boys made very, very good: Joshua Redman and Ambrose Akinmusire. \u003c/p>\n\u003cp>And with any luck, Shorter himself will be back soon. As Hancock said Thursday night, “Wayne never, never, never gives up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Wayne Shorter Legacy Celebration continues on Friday, Saturday and Sunday nights, Jan. 4–6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/wayne-shorter/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the opening night of what had originally been planned as a four-day residency for Wayne Shorter and his quartet at SFJAZZ, and the absence of the 85-year-old jazz legend, who canceled due to illness, hung in the air.\u003c/p>\n\u003cp>Then longtime friend Herbie Hancock got on the microphone.\u003c/p>\n\u003cp>“May Wayne have a happy, long life. This guy’s amazing—he’s been through so much health-wise, and now he’s in the middle of writing an opera!” Hancock said. “Can any of \u003cem>you\u003c/em> do that?”\u003c/p>\n\u003cp>And so the retooled residency—with Shorter’s enduring group of Brian Blade, Danilo Pérez and John Patitucci backing various luminaries influenced by the saxophonist and composer—became a celebration of Shorter’s music.\u003c/p>\n\u003cfigure id=\"attachment_13848119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-800x450.jpg\" alt=\"Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was no more evident then on Thursday night: Hancock (who’d suggested the show go on as a tribute when Shorter fell ill) traded keytar licks with trumpeter Terence Blanchard, dueted on piano with Pérez, and supplied atmospheric synthesizers with \u003ca href=\"https://www.ebony.com/entertainment/terrace-martin-influencers/#axzz450iZIILX\" rel=\"noopener\" target=\"_blank\">Kendrick Lamar collaborator\u003c/a> Terrace Martin on compositions like “Nefertiti” and “Visitor From Nowhere.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These were written decades, almost eras ago, right?” Hancock remarked from the stage. “They don’t \u003cem>sound\u003c/em> like that, though. Wayne’s compositions never get old—and we can’t say that about everybody.”\u003c/p>\n\u003cp>The tribute continues Friday night in a sold-out show with Branford Marsalis and Blanchard heading the group. But it’s the Saturday and Sunday shows, just on the cusp of selling out, which are grabbing more attention in my circles.\u003c/p>\n\u003cp>The reigning minister of Los Angeles’ new jazz explosion, Kamasi Washington, joins Martin to play Shorter’s music on Saturday night, while Sunday is given over to two local boys made very, very good: Joshua Redman and Ambrose Akinmusire. \u003c/p>\n\u003cp>And with any luck, Shorter himself will be back soon. As Hancock said Thursday night, “Wayne never, never, never gives up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Wayne Shorter Legacy Celebration continues on Friday, Saturday and Sunday nights, Jan. 4–6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/wayne-shorter/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\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/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”hi7lYwEpOEAdzR2MqfAMR6P1QQ9qOKRv”]\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>[contextly_sidebar id=”nnyx0Rrk26ilOHaBEmZXUwU64Zk7yxkL”]\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>[contextly_sidebar id=”TQWMJtTK2qs5Bu4tjU8iXIGckkWRfoCM”]\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”Z1UPm5PLzDNyQbToK3tY0vKpIc5nsp3Y”]\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>[contextly_sidebar id=”pO3kTlIFvu3TygHfg5oU8avvn02oiTsi”]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>[contextly_sidebar id=”wVi9mCobBvKoU5HhG7X0SmfiZXXMCRub”]\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1968, \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones \u003c/a>were at the top of their game. Aretha Franklin released two great records. \u003ca href=\"https://www.npr.org/artists/15420606/the-kinks\">The Kinks\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15396571/van-morrison\">Van Morrison\u003c/a> put out some of their best work, too.\u003c/p>\n\u003cp>One of the most tumultuous years of the 20th century also produced some of its greatest popular music. And it’s not just baby boomers who are nostalgic for the sounds of their youth: Even to people born decades later, the music of 1968 stands out.\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/681227625/681287015\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“There’s this kind of blossoming in what was possible,” says \u003ca href=\"https://www.npr.org/artists/128065995/meg-baird\">Meg Baird\u003c/a>, a singer and musician who performs under her own name and in the band \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\">Heron Oblivion\u003c/a>. She lives in San Francisco, the city that nurtured a flowering of psychedelic rock bands half a century ago, including Quicksilver Messenger Service, \u003ca href=\"https://www.npr.org/artists/16318788/jefferson-airplane\">Jefferson Airplane\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\">Grateful Dead\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I really don’t know what was the magic formula,” Baird says. But she’s not the only who’d like to recapture it. “I think everybody is always trying to go back there, to be honest.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe part of the fascination is hearing musicians trying to break free from the industry’s formulas. “There was a cookie-cutter aspect to most pop music at the time,” says John Simon, an in-demand producer during the 1960s and author of the 2018 book \u003cem>Truth, Lies & Hearsay: A Memoir of a Musical Life In & Out Of Rock and Roll\u003c/em>. “People wanted to make hits,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>By 1968, that was changing. The world outside of the recording studio was in upheaval. And musicians wanted to capture of the spirit of what was going on.\u003c/p>\n\u003cp>“I realized that I was part of the rebellion, and not part of the establishment,” says Simon, who earned a degree in music from Princeton University before getting a staff job at Columbia Records. “Part of being the rebellion is, you could rebel musically in the studio. You didn’t have to be as formulaic as in the past.”\u003c/p>\n\u003cp>John Simon worked on some of the most acclaimed albums of 1968, including \u003cem>Bookends\u003c/em> by \u003ca href=\"https://www.npr.org/artists/98847896/simon-garfunkel\">Simon & Garfunkel\u003c/a>. He produced \u003cem>Cheap Thrills\u003c/em> by Big Brother & the Holding Company — the record that introduced \u003ca href=\"https://www.npr.org/artists/15394826/janis-joplin\">Janis Joplin\u003c/a> to a wide audience.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And he produced the first record by a group of musicians who were best known for backing up \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>. He remembers the first time he heard the demos that became \u003cem>Music from Big Pink\u003c/em> by The Band.\u003c/p>\n\u003cp>“What I heard was just great. It was just so different,” Simon says. “The forms were different, the instrumentation was different, the attitudes. And so I said, yeah, count me in.”\u003c/p>\n\u003cp>The Band recorded live in the center of the studio, trying to recreate the magic of the basement of “Big Pink,” the house in the Hudson Valley where they’d spent much of the last year honing their material. They knocked out almost half of the album in a day, while other bands spent hours obsessing over a single track.\u003c/p>\n\u003cp>But no one pushed the recording studio — or the electric guitar — further than \u003ca href=\"https://www.npr.org/artists/15696782/jimi-hendrix\">Jimi Hendrix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Nobody had recorded guitar sounds like that,” says \u003ca href=\"https://www.npr.org/artists/17089989/vernon-reid/about-npr/183726490/awards\">Vernon Reid\u003c/a>, founder and guitarist of the band \u003ca href=\"https://www.npr.org/artists/15680696/living-colour\">Living Colour\u003c/a>. “No one had made sounds like that in the studio.”\u003c/p>\n\u003cp>When Hendrix started out, he was a sideman who was supposed to play second fiddle to others. “He played in rock and roll and R&B bands where the lead singer was the was the king,” Reid says. “He got fired all the time.”\u003c/p>\n\u003cp>But Hendrix’s very first album of his own was a Top 10 hit. So in 1968, he was free to pursue the sounds in his head on a groundbreaking double album called \u003cem>Electric Ladyland\u003c/em> that brought together blues and R&B with jazz and space rock.\u003c/p>\n\u003cp>“He took this notion of freedom seriously,” Reid says. “He was one of the great musical liberators.”\u003c/p>\n\u003cp>Sometimes the musical rebellion of 1968 was about sonic abstraction. Sometimes, it was more direct.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15316566/james-brown\">James Brown\u003c/a> recorded the song “Say It Loud — I’m Black and I’m Proud” in August of 1968. Saxophone player and bandleader Pee Wee Ellis co-wrote the song. He says it was Brown’s idea to bring in a bunch of neighborhood kids to sing the chorus.\u003c/p>\n\u003cp>“Their part was very simple,” Ellis recalls. “All they had to say was, ‘I’m black and I’m proud.’ It was done in one take.”\u003c/p>\n\u003cp>Ellis says audiences across the country learned their part quickly, too. The band recorded the song in Los Angeles, and played a gig at New York’s Apollo Theater a few weeks later.\u003c/p>\n\u003cp>“James Brown came on stage and said, ‘Say it loud!’ And the whole entire audience said, ‘I’m black and I’m proud,’ ” Ellis says. “That gave me goosebumps.”\u003c/p>\n\u003cp>So why does the music of 1968 still give audiences goosebumps half a century later?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People were making music they wanted to be make,” says Meg Baird. One of her favorite records of 1968 is not on many top-10 lists from that year. It’s a double album — half live, half studio — by the British folk-jazz band Pentangle, called \u003cem>Sweet Child\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can feel how fun it must be to be in that band,” Baird says. “They’re so good, and the way they’re playing together, it gets shared with the listener and the audience. This is music that was meant to be heard in a hall. It’s not meant to be in a rock club, or a folk club. It was allowed to be art.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Is+The+Music+Of+1968+So+Enduring%3F+%27It+Was+Allowed+To+Be+Art%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "after-oscar-grant-oakland-artists-inspired-a-new-generation-of-activists",
"title": "After Oscar Grant, Oakland Artists Inspired a New Generation of Activists",
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"headTitle": "After Oscar Grant, Oakland Artists Inspired a New Generation of Activists | KQED",
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"content": "\u003cp>Hours after Bay Area Rapid Transit police officer Johannes Mehserle shot and killed Oscar Grant on the platform of Fruitvale Station on Jan. 1, 2009, Bay Area street artists sprang into action. An Alameda printmaker named \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon-Paul Bail\u003c/a> churned out hundreds of “\u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/05/20090205-political-gridlock-bart-283x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Disarm BART Police\u003c/a>” posters to hand out at demonstrations. An artist going by \u003ca href=\"https://endlesscanvas.com/?tag=justice-for-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Broke\u003c/a> printed “Justice for Oscar Grant” posters with stylized graffiti font. Designer \u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/06/200903023-frank-zio-bloody-bart-258x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Zio\u003c/a> depicted a BART ticket with a bloody fingerprint.\u003c/p>\n\u003cp>Meanwhile, a cellphone video of the killing went viral on YouTube and social media, galvanizing hundreds of demonstrators who faced off against police in riot gear in downtown Oakland. As they marched, they hoisted signs with Bail, Zio and Broke’s artwork, plus posters by Oakland artists such as \u003ca href=\"http://endlesscanvas.com/?tag=gats\" target=\"_blank\" rel=\"noopener noreferrer\">GATS\u003c/a> and Melanie Cervantes and Jesus Barraza of \u003ca href=\"https://dignidadrebelde.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>.\u003c/p>\n\u003cp>“Everyone was using everyone else’s images freely,” says Bail, who’s made political posters since the ’80s under the name \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Political Gridlock\u003c/a>. “There was no, ‘This is my image, this is your image.’ No one cared, we just made the art and donated it. Give them posters, go to the rallies.”\u003c/p>\n\u003cp>As helicopters loomed overhead, the images made their way from people’s hands onto city walls and shop windows—a constant reminder of Oakland’s civil unrest—amplifying demonstrators’ calls for accountability as news cameras captured their clashes with police.\u003c/p>\n\u003cp>Those confrontational tactics worked: with public pressure mounting, the Alameda County district attorney charged Mehserle with murder on Jan. 14, 2009, a statistical anomaly for an officer-involved shooting. With Mehserle in custody, a millennial uprising against police brutality began to form in Oakland a full five years before Black Lives Matter became a national rallying cry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following in the footsteps of Tupac Shakur and the Black Panthers’ Emory Douglas, Oakland artists such as rapper Mistah F.A.B., rapper-turned-filmmaker Boots Riley, and \u003cem>Fruitvale Station\u003c/em> director Ryan Coogler lent their skills to the movement, and they brought followings of newly politicized young people with them. Ten years after Oscar Grant’s death, some of these artists have made a major impact on American pop culture, while others are still doing on-the-ground work in Oakland. All of them catalyzed a new generation of activists who rallied the nation against racial injustice and shifted American consciousness over the past decade.\u003c/p>\n\u003cfigure id=\"attachment_13847780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847780\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg\" alt=\"A Justice for Oscar Grant poster by street artist Broke. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Justice for Oscar Grant poster by street artist Broke. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would say for those of us who created Black Lives Matter, it really does start with Oscar Grant as our Rodney King moment—where the violence our communities experience every day was actually captured on video and circulated around the world,” says Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>“I think what Mistah F.A.B. and other artists were able to do is speak to folks who are not part of coalitions, who are not part of organizations … and allow them to be a part of the change that needs to happen,” Garza says. “Talking about the role that police violence plays in communities every day is a big part of how people are being reached and being told, ‘You’re not alone,’ one, and, two, ‘You can do something about it.'”\u003c/p>\n\u003ch2>Artists become community organizers\u003c/h2>\n\u003cp>As street artists handed out posters in the weeks after Grant’s death, the Bay Area’s rap scene mobilized to create a soundtrack for the protests. Mistah F.A.B., a central figure of the 2000s hyphy movement, recorded and released “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>” the day of the shooting. On the track, he drew attention to an ongoing pattern of police brutality against the black community, which he says mainstream society mostly ignored until it was captured on camera. “See, I’m from a city, man / Where police brutality ain’t nothin’ new to us, man / It’s another Oscar Grant that happens every day,” he rapped.\u003c/p>\n\u003cp>Oscar Grant hadn’t yet become a national news story on Jan. 1, 2009, but Mistah F.A.B. knew he had fans he could reach all over the country through MySpace, Bandcamp and YouTube. That month, he wore an Oscar Grant T-shirt for a TV appearance on BET. “I think expressing what was going on in the city through art was very important because there were individuals who hadn’t heard about the atrocities outside of our area,” he tells me in a recent interview.\u003c/p>\n\u003cfigure id=\"attachment_12997915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg\" alt=\"Mistah F.A.B.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For artists, rappers, singers, directors—it definitely lit a fire under the people and let them know, we have to address these things,” Mistah F.A.B. says. \u003c/span>\u003c/p>\n\u003cp>Other Bay Area rappers, including \u003ca href=\"https://www.youtube.com/watch?v=8fWeMeqinIE\" target=\"_blank\" rel=\"noopener noreferrer\">J Stalin and Beeda Weeda\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xQFajNZMxM8\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi of Zion I\u003c/a> and \u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gully\u003c/a>, recorded their own protest songs and homages to Grant. And music wasn’t the only way they took action: F.A.B. and \u003cem>Sorry to Bother You\u003c/em> director Boots Riley, then known as a rapper in The Coup, were on the front lines at Oakland City Hall in the days after the shooting to organize outraged Oaklanders.\u003c/p>\n\u003cp>Protests continued throughout 2009 and 2010 as Mehserle’s trial unfolded. In July 2010, a jury convicted the former police officer of involuntary manslaughter. He served 11 months of his two-year sentence, prompting more protests upon his early release in June 2011.\u003c/p>\n\u003cp>That same year, a new movement percolated in New York City: Occupy Wall Street, a protest against corporate interests and wealth inequality. As Occupy protests took root across the country, the center of the action in Oakland was Frank Ogawa Plaza at City Hall, which activists dubbed Oscar Grant Plaza. Following the unofficial name change, calling out racism in the criminal justice system became a core tenet of Occupy Oakland even as the national movement emphasized economics.\u003c/p>\n\u003cp>Many key people from the Oscar Grant protests showed up. Boots Riley \u003ca href=\"http://www.look2remember.com/2011/12/11/boots-riley-at-occupy-oakland-general-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">led direct actions\u003c/a> as police encroached on the Occupy encampment; Mistah F.A.B. delivered speeches on the City Hall steps alongside Nation of Islam leaders and members of Oscar Grant’s family.\u003c/p>\n\u003cp>https://youtu.be/Xym-xl8zLNw\u003c/p>\n\u003cp>Jon-Paul Bail and fellow street artist \u003ca href=\"https://www.instagram.com/rebelstilskin/\" target=\"_blank\" rel=\"noopener noreferrer\">Kalleb Arefaine\u003c/a> arrived to screenprint thousands of posters on site, handing them directly to demonstrators. Graffiti artists, including \u003ca href=\"http://endlesscanvas.com/?p=5004\" target=\"_blank\" rel=\"noopener noreferrer\">Eesuu\u003c/a> and \u003ca href=\"http://endlesscanvas.com/?p=4940\" target=\"_blank\" rel=\"noopener noreferrer\">Optimist\u003c/a>, joined the cause, covering the city with “Justice for Oscar Grant” posters and tags. Oscar Grant murals and wheatpasted posters showed up all over town as protesters camped out in front of City Hall.\u003c/p>\n\u003cp>“When the news and everyone was complaining about the graffiti,” recalls Arefaine, “it broadcasted the message even more.”\u003c/p>\n\u003ch2>Grant’s family enlists artists’ help\u003c/h2>\n\u003cp>During the height of Occupy Oakland, Oscar Grant’s uncle Cephus Johnson, known to many as Uncle Bobby, saw Bail screenprinting at a protest and approached him to collaborate on a new design for a vigil he’d planned for the third anniversary of Grant’s death on Jan. 1, 2012. This time, Bail enlisted another artist, \u003ca href=\"http://cargocollective.com/2amisthetime/filter/2amart/About\" target=\"_blank\" rel=\"noopener noreferrer\">Aambr Newsome a.k.a. 2AM\u003c/a>, who was a Berkeley City College student at the time. Newsome and Bail drew a stylized portrait of a smiling Oscar Grant, illuminated by sunshine with protest signs in the background.\u003c/p>\n\u003cp>Newsome recalls how Oscar Grant’s murder awakened her to the reality of police violence against black communities in America. She felt a sense of duty to lend her illustration skills to the cause. “For me, it was really important providing assistance to those families who feel like they don’t have a voice, that nobody is listening, and to really give them something to march with,” she says. “I think that makes them louder. It makes them a bit more proud so they feel like they have supporters backing them.”\u003c/p>\n\u003cfigure id=\"attachment_13847781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg\" alt=\"Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who assumed the role of family spokesperson after founding the \u003ca href=\"http://www.lovenotbloodcampaign.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant Foundation\u003c/a> in 2010, collaborated with numerous artists in the wake of Grant’s death. Johnson’s voice appears on rapper Young Gully’s album \u003cem>\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a> \u003c/em>on the heartfelt final track, “Letter to Grant,” where Gully raps from the perspective of Grant in heaven. (KQED’s Pendarvis Harshaw was an executive producer on the album.)\u003c/p>\n\u003cp>Young Gully recalls how Johnson was skeptical of his intentions until he heard “Letter to Grant” being recorded in the studio. “When Uncle Bobby heard that, he cried. That one song is what allowed me to put that album out,” Gully says. “After that, he saw what my angle was. We built this big relationship, and basically he loved me for that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3032191159/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For Johnson, working with artists was crucial for drawing attention to injustice, and especially getting young people on board with the fight against police brutality. “Artistry from muralists, hip-hop artists—and artists period, whether they be spoken-word artists, portraitists—they all shared their gifts when it came time to talk about Oscar Grant and speak about the social ills of the system concerning police violence, state-sponsored violence,” he says. “It was young people speaking to young people, and us elders heard their call and responded.”\u003c/p>\n\u003ch2>The movement hits the big screen\u003c/h2>\n\u003cp>The “Justice for Oscar Grant” poster Newsome and Bail created with Johnson’s blessing ended up in \u003cem>Black Panther\u003c/em> director Ryan Coogler’s debut feature film, \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant’s life.\u003c/p>\n\u003cp>Coogler, an Oakland native who was only a year older than Grant at the time of the killing, painted a portrait of Grant as an imperfect but loving young father attempting to get his life on track after a stint behind bars. The humanizing portrayal was crucial to the developing national conversation about racial injustice, which only grew more tense after the high-profile shooting of Trayvon Martin in 2012.\u003c/p>\n\u003cp>By the time \u003cem>Fruitvale Station\u003c/em> hit theaters in 2013, Oscar Grant had become a martyr, a symbol and a hashtag after four years of protests in his name. But \u003cem>Fruitvale Station\u003c/em> brought the focus back on Grant as a regular, working-class young man finding his way. At a time when news media regularly vilified victims of police brutality—for example, \u003ca href=\"https://www.theatlantic.com/politics/archive/2012/03/what-did-trayvon-look-depends-your-politics/329893/\" target=\"_blank\" rel=\"noopener noreferrer\">the fixation\u003c/a> on photos of Trayvon Martin showing his middle finger—this was essential.\u003c/p>\n\u003cp>https://youtu.be/crMTGCCui5c\u003c/p>\n\u003cp>“[Oscar] has to deal with his baby mama; he has to deal with money; he has to figure out what to do with this dog; his job has some stress,” says Carvell Wallace, an Oakland-based critic who has \u003ca href=\"https://www.nytimes.com/2018/02/12/magazine/why-black-panther-is-a-defining-moment-for-black-america.html\" target=\"_blank\" rel=\"noopener noreferrer\">covered Coogler’s work\u003c/a> for \u003cem>The New York Times\u003c/em>. “The way [Coogler] takes us through this allows us to relate to those things so we see him as a person. I think it’s important to see someone as a person before they become a hashtag, and that’s what the movements are always fighting for. And that’s an uphill battle.”\u003c/p>\n\u003cp>With a wide release in theaters across the country, \u003cem>Fruitvale Station\u003c/em> was essential for building empathy among non-black Americans who didn’t have personal experience with police brutality and racial injustice, and who might have felt threatened by the protests they saw on the news without understanding the underlying cause. “I think what Coogler did with that film was show Oscar Grant not as a ‘them’ but as a ‘you,'” says Wallace.\u003c/p>\n\u003cp>April Reign, a diversity advocate who coined the #OscarsSoWhite hashtag in response to a lack of black artists at the Academy Awards, says that \u003cem>Fruitvale Station\u003c/em> served another purpose: it emphasized the importance of documenting injustice with smartphones, which was instrumental to the Black Lives Matter movement as it took off nationally in 2013.\u003c/p>\n\u003cp>“The movie \u003cem>Fruitvale Station\u003c/em> was incredibly underrated and really brought to the forefront some of the issues that people had been fighting for years,” says Reign. “Not just talking about the issues of state-sanctioned violence, but also the question of filming the police, and how taking a stand in that way has the potential to make a difference when cops are involved in violence against American citizens, especially black men.”\u003c/p>\n\u003ch2>Black Lives Matter on the world stage\u003c/h2>\n\u003cp>The Bay Area artists politicized during the Oscar Grant protests found a new calling with the Black Lives Matter movement, a rallying cry against systemic racism after the high-profile killings of Martin, Mike Brown and Eric Garner.\u003c/p>\n\u003cp>Oakland artist \u003ca href=\"http://www.oreeoriginol.com/justiceforourlives.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oree Original\u003c/a> created dozens of downloadable portraits of victims of police brutality that Black Lives Matter activists carried at marches nationwide. And \u003ca href=\"http://chinakahodge.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinaka Hodge\u003c/a>, a star of the Bay Area’s literary scene, debuted her critically acclaimed play \u003cem>Chasing Mehserle\u003c/em>, which toured the country after its local premiere in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12624168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12624168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg\" alt=\"Artist Oree Originol\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oree Originol with posters from his ‘Justice for Our Lives’ project. \u003ccite>(Manjula Varghese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Lives Matter protests continued into 2016, following the deaths of Sandra Bland in Texas, Philando Castile in Minnesota and Alton Sterling in Louisiana. The movement entered the pop culture zeitgeist: Beyoncé brought Grant’s mother, Reverend Wanda Johnson, and the mothers of Brown, Martin and Garner to the \u003ca href=\"https://www.independent.co.uk/news/beyonce-brings-mothers-of-eric-garner-trayvon-martin-mike-brown-and-oscar-grant-to-vmas-2016-a7214741.html\" target=\"_blank\" rel=\"noopener noreferrer\">2016 VMAs\u003c/a>. Colin Kaepernick, whose kneeling protest against police brutality received support from Grant’s family, continues to be the biggest topic of conversation in the NFL.\u003c/p>\n\u003cp>Chart-topping artists like Migos and Young Thug mentioned victims of police violence in their songs; Kendrick Lamar made history at the \u003ca href=\"https://www.rollingstone.com/music/music-news/grammys-2016-king-kendrick-lamar-steals-the-show-178882/\" target=\"_blank\" rel=\"noopener noreferrer\">2016 Grammy Awards\u003c/a> with a performance that called out racism in the criminal justice system. Drawing from a long history of African-American protest art, the wave of artists demanding justice for Grant ushered in an era of creatives and entertainers speaking out against police brutality, and using social media to amplify the conversation.\u003c/p>\n\u003cp>“Artistry spring-boarded the Oscar Grant movement,” says Johnson, Grant’s uncle. “So today, when we see young men getting killed, there are forms of artistry that come into play… It’s carried on ever since.”\u003c/p>\n\u003cp>Ryan Coogler and Boots Riley kicked off a huge year for black cinema with the successes of their 2018 films \u003cem>Black Panther \u003c/em>and \u003cem>Sorry to Bother You\u003c/em>, and other critically acclaimed films from that year addressed police brutality directly. Director George Tillman Jr. based his movie about the aftermath of a police shooting, \u003cem>\u003ca href=\"https://www.latimes.com/entertainment/movies/la-ca-mn-sneaks-hate-u-give-20180830-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Hate U Give\u003c/a>, \u003c/em>on a young-adult novel by Angie Thomas, who began writing it after watching cellphone footage of Oscar Grant’s death. Similarly, \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal, both from Oakland, wrote the screenplay for\u003cem> Blindspotting\u003c/em>—about a man reeling from PTSD after witnessing a police shooting—in the aftermath of the Oscar Grant shooting.\u003c/p>\n\u003cp>“We were trying to match the nature of the national conversation about these kinds of killings,” Diggs \u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> KQED in a July 2018 interview about the film. “When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003ch2>Culture shifts, legislation stagnates\u003c/h2>\n\u003cp>Although the many examples of art to emerge from the fight against police brutality have shifted American consciousness and changed the culture, policy has been slow to catch up. California passed a law creating \u003ca href=\"https://www.aclusocal.org/en/press-releases/california-passes-landmark-police-transparency-and-accountability-legislation\" target=\"_blank\" rel=\"noopener noreferrer\">greater transparency in police misconduct cases\u003c/a> in 2018, but no sweeping state or federal reforms have taken place, especially regarding disciplining officers who abuse their authority. \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/police-shootings-2018/?utm_term=.a11ef20c2f4b\" target=\"_blank\" rel=\"noopener noreferrer\">Recent studies\u003c/a> estimate that police kill nearly 1,000 people a year in the United States, but \u003ca href=\"https://www.cnn.com/2017/05/18/us/police-involved-shooting-cases/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">only 80 officers\u003c/a> were arrested on murder or manslaughter chargers for on-duty shootings between 2005 and 2017. Of those, only 35 percent were convicted.\u003c/p>\n\u003cp>Oaklanders voted to replace an inefficient Citizens’ Police Review Board in 2016 with the Oakland Police Commission, which has more power to investigate and discipline officers accused of misconduct. But the board’s first year was marred by turmoil and leadership changes, with one commissioner calling it a “squandered opportunity” in her \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/11/29/oakland-police-commissioner-resigns-calling-the-oversight-boards-first-year-a-squandered-opportunity\" target=\"_blank\" rel=\"noopener noreferrer\">resignation letter in November 2018\u003c/a>.\u003c/p>\n\u003cp>With Donald Trump in office, police brutality is no longer a central focus for many non-black Americans as the administration enacts policies that undermine many other populations’ civil liberties. The lack of tangible progress feels deflating to some, but the fight against systemic racism started long before Oscar Grant—and will continue long after.\u003c/p>\n\u003cp>“The system hasn’t changed, and policing hasn’t become more transparent than it was before. It’s just more visible,” says Black Lives Matter’s Garza. “Black people are still being murdered.”\u003c/p>\n\u003cp>https://youtu.be/gRJboyRHfYo\u003c/p>\n\u003cp>For many of the artists who mobilized against police brutality ten years ago, the pain of Grant’s death and the fraught state of race relations in America are still front-of-mind. \u003ca href=\"https://www.kqed.org/news/11710770/honoring-oscar-grant-gets-political-at-bart-meeting\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, a street artist involved in the movement since at least 2009, is currently painting a new mural honoring Grant at Fruitvale BART station. Mistah F.A.B. recently filmed a music video at Fruitvale station for his new song “War Vibes,” where he raps face down on the platform—the position Grant found himself in during his last moments.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s unfortunate that these kids are being killed and stripped of their lives and their innocence,” Mistah F.A.B. says. “It’s not even safe outside. A trip to the store could end in you being beat up or shot by the police.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hours after Bay Area Rapid Transit police officer Johannes Mehserle shot and killed Oscar Grant on the platform of Fruitvale Station on Jan. 1, 2009, Bay Area street artists sprang into action. An Alameda printmaker named \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon-Paul Bail\u003c/a> churned out hundreds of “\u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/05/20090205-political-gridlock-bart-283x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Disarm BART Police\u003c/a>” posters to hand out at demonstrations. An artist going by \u003ca href=\"https://endlesscanvas.com/?tag=justice-for-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Broke\u003c/a> printed “Justice for Oscar Grant” posters with stylized graffiti font. Designer \u003ca href=\"https://nickcernak.com/wp-content/uploads/2017/06/200903023-frank-zio-bloody-bart-258x400.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Frank Zio\u003c/a> depicted a BART ticket with a bloody fingerprint.\u003c/p>\n\u003cp>Meanwhile, a cellphone video of the killing went viral on YouTube and social media, galvanizing hundreds of demonstrators who faced off against police in riot gear in downtown Oakland. As they marched, they hoisted signs with Bail, Zio and Broke’s artwork, plus posters by Oakland artists such as \u003ca href=\"http://endlesscanvas.com/?tag=gats\" target=\"_blank\" rel=\"noopener noreferrer\">GATS\u003c/a> and Melanie Cervantes and Jesus Barraza of \u003ca href=\"https://dignidadrebelde.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>.\u003c/p>\n\u003cp>“Everyone was using everyone else’s images freely,” says Bail, who’s made political posters since the ’80s under the name \u003ca href=\"http://www.gridlock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Political Gridlock\u003c/a>. “There was no, ‘This is my image, this is your image.’ No one cared, we just made the art and donated it. Give them posters, go to the rallies.”\u003c/p>\n\u003cp>As helicopters loomed overhead, the images made their way from people’s hands onto city walls and shop windows—a constant reminder of Oakland’s civil unrest—amplifying demonstrators’ calls for accountability as news cameras captured their clashes with police.\u003c/p>\n\u003cp>Those confrontational tactics worked: with public pressure mounting, the Alameda County district attorney charged Mehserle with murder on Jan. 14, 2009, a statistical anomaly for an officer-involved shooting. With Mehserle in custody, a millennial uprising against police brutality began to form in Oakland a full five years before Black Lives Matter became a national rallying cry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following in the footsteps of Tupac Shakur and the Black Panthers’ Emory Douglas, Oakland artists such as rapper Mistah F.A.B., rapper-turned-filmmaker Boots Riley, and \u003cem>Fruitvale Station\u003c/em> director Ryan Coogler lent their skills to the movement, and they brought followings of newly politicized young people with them. Ten years after Oscar Grant’s death, some of these artists have made a major impact on American pop culture, while others are still doing on-the-ground work in Oakland. All of them catalyzed a new generation of activists who rallied the nation against racial injustice and shifted American consciousness over the past decade.\u003c/p>\n\u003cfigure id=\"attachment_13847780\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847780\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg\" alt=\"A Justice for Oscar Grant poster by street artist Broke. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0781-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Justice for Oscar Grant poster by street artist Broke. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I would say for those of us who created Black Lives Matter, it really does start with Oscar Grant as our Rodney King moment—where the violence our communities experience every day was actually captured on video and circulated around the world,” says Black Lives Matter co-founder Alicia Garza.\u003c/p>\n\u003cp>“I think what Mistah F.A.B. and other artists were able to do is speak to folks who are not part of coalitions, who are not part of organizations … and allow them to be a part of the change that needs to happen,” Garza says. “Talking about the role that police violence plays in communities every day is a big part of how people are being reached and being told, ‘You’re not alone,’ one, and, two, ‘You can do something about it.'”\u003c/p>\n\u003ch2>Artists become community organizers\u003c/h2>\n\u003cp>As street artists handed out posters in the weeks after Grant’s death, the Bay Area’s rap scene mobilized to create a soundtrack for the protests. Mistah F.A.B., a central figure of the 2000s hyphy movement, recorded and released “\u003ca href=\"https://mistahfab.bandcamp.com/album/oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">My Life (Oscar Grant)\u003c/a>” the day of the shooting. On the track, he drew attention to an ongoing pattern of police brutality against the black community, which he says mainstream society mostly ignored until it was captured on camera. “See, I’m from a city, man / Where police brutality ain’t nothin’ new to us, man / It’s another Oscar Grant that happens every day,” he rapped.\u003c/p>\n\u003cp>Oscar Grant hadn’t yet become a national news story on Jan. 1, 2009, but Mistah F.A.B. knew he had fans he could reach all over the country through MySpace, Bandcamp and YouTube. That month, he wore an Oscar Grant T-shirt for a TV appearance on BET. “I think expressing what was going on in the city through art was very important because there were individuals who hadn’t heard about the atrocities outside of our area,” he tells me in a recent interview.\u003c/p>\n\u003cfigure id=\"attachment_12997915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12997915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg\" alt=\"Mistah F.A.B.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/20160601_MistahFAB_Credit_BertJohnson-COVER-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. \u003ccite>(Bert Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For artists, rappers, singers, directors—it definitely lit a fire under the people and let them know, we have to address these things,” Mistah F.A.B. says. \u003c/span>\u003c/p>\n\u003cp>Other Bay Area rappers, including \u003ca href=\"https://www.youtube.com/watch?v=8fWeMeqinIE\" target=\"_blank\" rel=\"noopener noreferrer\">J Stalin and Beeda Weeda\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=xQFajNZMxM8\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi of Zion I\u003c/a> and \u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">Young Gully\u003c/a>, recorded their own protest songs and homages to Grant. And music wasn’t the only way they took action: F.A.B. and \u003cem>Sorry to Bother You\u003c/em> director Boots Riley, then known as a rapper in The Coup, were on the front lines at Oakland City Hall in the days after the shooting to organize outraged Oaklanders.\u003c/p>\n\u003cp>Protests continued throughout 2009 and 2010 as Mehserle’s trial unfolded. In July 2010, a jury convicted the former police officer of involuntary manslaughter. He served 11 months of his two-year sentence, prompting more protests upon his early release in June 2011.\u003c/p>\n\u003cp>That same year, a new movement percolated in New York City: Occupy Wall Street, a protest against corporate interests and wealth inequality. As Occupy protests took root across the country, the center of the action in Oakland was Frank Ogawa Plaza at City Hall, which activists dubbed Oscar Grant Plaza. Following the unofficial name change, calling out racism in the criminal justice system became a core tenet of Occupy Oakland even as the national movement emphasized economics.\u003c/p>\n\u003cp>Many key people from the Oscar Grant protests showed up. Boots Riley \u003ca href=\"http://www.look2remember.com/2011/12/11/boots-riley-at-occupy-oakland-general-strike/\" target=\"_blank\" rel=\"noopener noreferrer\">led direct actions\u003c/a> as police encroached on the Occupy encampment; Mistah F.A.B. delivered speeches on the City Hall steps alongside Nation of Islam leaders and members of Oscar Grant’s family.\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/Xym-xl8zLNw'\n title='//www.youtube.com/embed/Xym-xl8zLNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jon-Paul Bail and fellow street artist \u003ca href=\"https://www.instagram.com/rebelstilskin/\" target=\"_blank\" rel=\"noopener noreferrer\">Kalleb Arefaine\u003c/a> arrived to screenprint thousands of posters on site, handing them directly to demonstrators. Graffiti artists, including \u003ca href=\"http://endlesscanvas.com/?p=5004\" target=\"_blank\" rel=\"noopener noreferrer\">Eesuu\u003c/a> and \u003ca href=\"http://endlesscanvas.com/?p=4940\" target=\"_blank\" rel=\"noopener noreferrer\">Optimist\u003c/a>, joined the cause, covering the city with “Justice for Oscar Grant” posters and tags. Oscar Grant murals and wheatpasted posters showed up all over town as protesters camped out in front of City Hall.\u003c/p>\n\u003cp>“When the news and everyone was complaining about the graffiti,” recalls Arefaine, “it broadcasted the message even more.”\u003c/p>\n\u003ch2>Grant’s family enlists artists’ help\u003c/h2>\n\u003cp>During the height of Occupy Oakland, Oscar Grant’s uncle Cephus Johnson, known to many as Uncle Bobby, saw Bail screenprinting at a protest and approached him to collaborate on a new design for a vigil he’d planned for the third anniversary of Grant’s death on Jan. 1, 2012. This time, Bail enlisted another artist, \u003ca href=\"http://cargocollective.com/2amisthetime/filter/2amart/About\" target=\"_blank\" rel=\"noopener noreferrer\">Aambr Newsome a.k.a. 2AM\u003c/a>, who was a Berkeley City College student at the time. Newsome and Bail drew a stylized portrait of a smiling Oscar Grant, illuminated by sunshine with protest signs in the background.\u003c/p>\n\u003cp>Newsome recalls how Oscar Grant’s murder awakened her to the reality of police violence against black communities in America. She felt a sense of duty to lend her illustration skills to the cause. “For me, it was really important providing assistance to those families who feel like they don’t have a voice, that nobody is listening, and to really give them something to march with,” she says. “I think that makes them louder. It makes them a bit more proud so they feel like they have supporters backing them.”\u003c/p>\n\u003cfigure id=\"attachment_13847781\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg\" alt=\"Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_0786.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kalleb Arefaine and Jon-Paul Bail printed thousands of anti-police brutality posters over the past decade. Bail (right) holds a poster he created with Aambr Newsom in 2012. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson, who assumed the role of family spokesperson after founding the \u003ca href=\"http://www.lovenotbloodcampaign.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant Foundation\u003c/a> in 2010, collaborated with numerous artists in the wake of Grant’s death. Johnson’s voice appears on rapper Young Gully’s album \u003cem>\u003ca href=\"https://younggullyyh.bandcamp.com/album/the-grant-station-project\" target=\"_blank\" rel=\"noopener noreferrer\">The Grant Station Project\u003c/a> \u003c/em>on the heartfelt final track, “Letter to Grant,” where Gully raps from the perspective of Grant in heaven. (KQED’s Pendarvis Harshaw was an executive producer on the album.)\u003c/p>\n\u003cp>Young Gully recalls how Johnson was skeptical of his intentions until he heard “Letter to Grant” being recorded in the studio. “When Uncle Bobby heard that, he cried. That one song is what allowed me to put that album out,” Gully says. “After that, he saw what my angle was. We built this big relationship, and basically he loved me for that.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3032191159/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For Johnson, working with artists was crucial for drawing attention to injustice, and especially getting young people on board with the fight against police brutality. “Artistry from muralists, hip-hop artists—and artists period, whether they be spoken-word artists, portraitists—they all shared their gifts when it came time to talk about Oscar Grant and speak about the social ills of the system concerning police violence, state-sponsored violence,” he says. “It was young people speaking to young people, and us elders heard their call and responded.”\u003c/p>\n\u003ch2>The movement hits the big screen\u003c/h2>\n\u003cp>The “Justice for Oscar Grant” poster Newsome and Bail created with Johnson’s blessing ended up in \u003cem>Black Panther\u003c/em> director Ryan Coogler’s debut feature film, \u003cem>Fruitvale Station\u003c/em>, about the final 24 hours of Oscar Grant’s life.\u003c/p>\n\u003cp>Coogler, an Oakland native who was only a year older than Grant at the time of the killing, painted a portrait of Grant as an imperfect but loving young father attempting to get his life on track after a stint behind bars. The humanizing portrayal was crucial to the developing national conversation about racial injustice, which only grew more tense after the high-profile shooting of Trayvon Martin in 2012.\u003c/p>\n\u003cp>By the time \u003cem>Fruitvale Station\u003c/em> hit theaters in 2013, Oscar Grant had become a martyr, a symbol and a hashtag after four years of protests in his name. But \u003cem>Fruitvale Station\u003c/em> brought the focus back on Grant as a regular, working-class young man finding his way. At a time when news media regularly vilified victims of police brutality—for example, \u003ca href=\"https://www.theatlantic.com/politics/archive/2012/03/what-did-trayvon-look-depends-your-politics/329893/\" target=\"_blank\" rel=\"noopener noreferrer\">the fixation\u003c/a> on photos of Trayvon Martin showing his middle finger—this was essential.\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/crMTGCCui5c'\n title='//www.youtube.com/embed/crMTGCCui5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[Oscar] has to deal with his baby mama; he has to deal with money; he has to figure out what to do with this dog; his job has some stress,” says Carvell Wallace, an Oakland-based critic who has \u003ca href=\"https://www.nytimes.com/2018/02/12/magazine/why-black-panther-is-a-defining-moment-for-black-america.html\" target=\"_blank\" rel=\"noopener noreferrer\">covered Coogler’s work\u003c/a> for \u003cem>The New York Times\u003c/em>. “The way [Coogler] takes us through this allows us to relate to those things so we see him as a person. I think it’s important to see someone as a person before they become a hashtag, and that’s what the movements are always fighting for. And that’s an uphill battle.”\u003c/p>\n\u003cp>With a wide release in theaters across the country, \u003cem>Fruitvale Station\u003c/em> was essential for building empathy among non-black Americans who didn’t have personal experience with police brutality and racial injustice, and who might have felt threatened by the protests they saw on the news without understanding the underlying cause. “I think what Coogler did with that film was show Oscar Grant not as a ‘them’ but as a ‘you,'” says Wallace.\u003c/p>\n\u003cp>April Reign, a diversity advocate who coined the #OscarsSoWhite hashtag in response to a lack of black artists at the Academy Awards, says that \u003cem>Fruitvale Station\u003c/em> served another purpose: it emphasized the importance of documenting injustice with smartphones, which was instrumental to the Black Lives Matter movement as it took off nationally in 2013.\u003c/p>\n\u003cp>“The movie \u003cem>Fruitvale Station\u003c/em> was incredibly underrated and really brought to the forefront some of the issues that people had been fighting for years,” says Reign. “Not just talking about the issues of state-sanctioned violence, but also the question of filming the police, and how taking a stand in that way has the potential to make a difference when cops are involved in violence against American citizens, especially black men.”\u003c/p>\n\u003ch2>Black Lives Matter on the world stage\u003c/h2>\n\u003cp>The Bay Area artists politicized during the Oscar Grant protests found a new calling with the Black Lives Matter movement, a rallying cry against systemic racism after the high-profile killings of Martin, Mike Brown and Eric Garner.\u003c/p>\n\u003cp>Oakland artist \u003ca href=\"http://www.oreeoriginol.com/justiceforourlives.html\" target=\"_blank\" rel=\"noopener noreferrer\">Oree Original\u003c/a> created dozens of downloadable portraits of victims of police brutality that Black Lives Matter activists carried at marches nationwide. And \u003ca href=\"http://chinakahodge.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinaka Hodge\u003c/a>, a star of the Bay Area’s literary scene, debuted her critically acclaimed play \u003cem>Chasing Mehserle\u003c/em>, which toured the country after its local premiere in 2014.\u003c/p>\n\u003cfigure id=\"attachment_12624168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12624168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg\" alt=\"Artist Oree Originol\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/oreeportrait.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oree Originol with posters from his ‘Justice for Our Lives’ project. \u003ccite>(Manjula Varghese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Lives Matter protests continued into 2016, following the deaths of Sandra Bland in Texas, Philando Castile in Minnesota and Alton Sterling in Louisiana. The movement entered the pop culture zeitgeist: Beyoncé brought Grant’s mother, Reverend Wanda Johnson, and the mothers of Brown, Martin and Garner to the \u003ca href=\"https://www.independent.co.uk/news/beyonce-brings-mothers-of-eric-garner-trayvon-martin-mike-brown-and-oscar-grant-to-vmas-2016-a7214741.html\" target=\"_blank\" rel=\"noopener noreferrer\">2016 VMAs\u003c/a>. Colin Kaepernick, whose kneeling protest against police brutality received support from Grant’s family, continues to be the biggest topic of conversation in the NFL.\u003c/p>\n\u003cp>Chart-topping artists like Migos and Young Thug mentioned victims of police violence in their songs; Kendrick Lamar made history at the \u003ca href=\"https://www.rollingstone.com/music/music-news/grammys-2016-king-kendrick-lamar-steals-the-show-178882/\" target=\"_blank\" rel=\"noopener noreferrer\">2016 Grammy Awards\u003c/a> with a performance that called out racism in the criminal justice system. Drawing from a long history of African-American protest art, the wave of artists demanding justice for Grant ushered in an era of creatives and entertainers speaking out against police brutality, and using social media to amplify the conversation.\u003c/p>\n\u003cp>“Artistry spring-boarded the Oscar Grant movement,” says Johnson, Grant’s uncle. “So today, when we see young men getting killed, there are forms of artistry that come into play… It’s carried on ever since.”\u003c/p>\n\u003cp>Ryan Coogler and Boots Riley kicked off a huge year for black cinema with the successes of their 2018 films \u003cem>Black Panther \u003c/em>and \u003cem>Sorry to Bother You\u003c/em>, and other critically acclaimed films from that year addressed police brutality directly. Director George Tillman Jr. based his movie about the aftermath of a police shooting, \u003cem>\u003ca href=\"https://www.latimes.com/entertainment/movies/la-ca-mn-sneaks-hate-u-give-20180830-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Hate U Give\u003c/a>, \u003c/em>on a young-adult novel by Angie Thomas, who began writing it after watching cellphone footage of Oscar Grant’s death. Similarly, \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal, both from Oakland, wrote the screenplay for\u003cem> Blindspotting\u003c/em>—about a man reeling from PTSD after witnessing a police shooting—in the aftermath of the Oscar Grant shooting.\u003c/p>\n\u003cp>“We were trying to match the nature of the national conversation about these kinds of killings,” Diggs \u003ca href=\"https://www.kqed.org/arts/13837184/blindspotting-is-a-spot-on-portrait-of-an-oakland-in-flux\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> KQED in a July 2018 interview about the film. “When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003ch2>Culture shifts, legislation stagnates\u003c/h2>\n\u003cp>Although the many examples of art to emerge from the fight against police brutality have shifted American consciousness and changed the culture, policy has been slow to catch up. California passed a law creating \u003ca href=\"https://www.aclusocal.org/en/press-releases/california-passes-landmark-police-transparency-and-accountability-legislation\" target=\"_blank\" rel=\"noopener noreferrer\">greater transparency in police misconduct cases\u003c/a> in 2018, but no sweeping state or federal reforms have taken place, especially regarding disciplining officers who abuse their authority. \u003ca href=\"https://www.washingtonpost.com/graphics/2018/national/police-shootings-2018/?utm_term=.a11ef20c2f4b\" target=\"_blank\" rel=\"noopener noreferrer\">Recent studies\u003c/a> estimate that police kill nearly 1,000 people a year in the United States, but \u003ca href=\"https://www.cnn.com/2017/05/18/us/police-involved-shooting-cases/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">only 80 officers\u003c/a> were arrested on murder or manslaughter chargers for on-duty shootings between 2005 and 2017. Of those, only 35 percent were convicted.\u003c/p>\n\u003cp>Oaklanders voted to replace an inefficient Citizens’ Police Review Board in 2016 with the Oakland Police Commission, which has more power to investigate and discipline officers accused of misconduct. But the board’s first year was marred by turmoil and leadership changes, with one commissioner calling it a “squandered opportunity” in her \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/11/29/oakland-police-commissioner-resigns-calling-the-oversight-boards-first-year-a-squandered-opportunity\" target=\"_blank\" rel=\"noopener noreferrer\">resignation letter in November 2018\u003c/a>.\u003c/p>\n\u003cp>With Donald Trump in office, police brutality is no longer a central focus for many non-black Americans as the administration enacts policies that undermine many other populations’ civil liberties. The lack of tangible progress feels deflating to some, but the fight against systemic racism started long before Oscar Grant—and will continue long after.\u003c/p>\n\u003cp>“The system hasn’t changed, and policing hasn’t become more transparent than it was before. It’s just more visible,” says Black Lives Matter’s Garza. “Black people are still being murdered.”\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/gRJboyRHfYo'\n title='//www.youtube.com/embed/gRJboyRHfYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For many of the artists who mobilized against police brutality ten years ago, the pain of Grant’s death and the fraught state of race relations in America are still front-of-mind. \u003ca href=\"https://www.kqed.org/news/11710770/honoring-oscar-grant-gets-political-at-bart-meeting\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>, a street artist involved in the movement since at least 2009, is currently painting a new mural honoring Grant at Fruitvale BART station. Mistah F.A.B. recently filmed a music video at Fruitvale station for his new song “War Vibes,” where he raps face down on the platform—the position Grant found himself in during his last moments.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s unfortunate that these kids are being killed and stripped of their lives and their innocence,” Mistah F.A.B. says. “It’s not even safe outside. A trip to the store could end in you being beat up or shot by the police.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>[contextly_sidebar id=”NP2k2sRmZaUEykroiK5ox8yGTnIQTXN5″]\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\u003c/p>\n\u003cp>https://youtu.be/7IExZv-mgrw\u003c/p>\n\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\u003c/p>\n\u003cp>https://youtu.be/lMvFKpqnsWU\u003c/p>\n\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\u003c/p>\n\u003cp>https://youtu.be/KA84TNAGWJM\u003c/p>\n\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If one way of understanding gospel music is to trace its emergence in the midst of the African-American Great Migration — from south to north, from rural areas to urban regions, from agrarian culture to industrialization, then so too can we hear Aretha Franklin traveling miles and miles in her luminous cover of Simon and Garfunkel’s “Bridge Over Troubled Water.” With each magnetic pass that she took through this song, we can hear Queen Re mediating the gospel space between traditional spirituals and blues-inflected musicality, bringing the Holy sounds of her Baptist upbringing closer to the secularized lyrics of folk hero Paul Simon.\u003c/p>\n\u003cp>In her extraordinary live performances of this track which she first performed on the Grammys telecast in 1971, Aretha Franklin \u003cem>becomes\u003c/em> a bridge, phantasmagorically elasticizing the wondrous instrument that is her vocal body across musical genres — soul, gospel, folk. Most remarkable was how she drew out the deep spiritual grooves of Simon’s “Bridge” in March of that year at concert promoter Bill Graham’s Fillmore West, a rock and roll palace where Hendrix’s psychedelia and Grateful Dead jam band bacchanalia had been flourishing since 1968. Resplendent in her flowing, earth-toned gown and a supremely Haight-Ashbury slouchy hat, she took a seat at the piano and became the first African-American woman artist to headline a concert event at the venue, home of the “long hairs” as some would refer to it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The journey that Aretha takes us on this song is one in which she wraps her arms around an ode to deeply enduring friendship and solidarity in times of trial. This was a moment too in which she also tapped into the traces of songwriter Paul Simon’s love of gospel greats the Swan Silvertones and their own re-reading of the spiritual “Mary Don’t You Weep,” itself a tune that folds together Old and New Testament tales of exodus and re-birth. It was a tale she surely knew well, as the daughter of legendary preacher C.L. Franklin, and she invoked all that knowledge to mine the “Bridge” for its many cultural and spiritual resonances. Along the way, just as she did with Otis Redding’s “Respect,” she made it all her own.\u003c/p>\n\u003cp>Like fellow Detroiter Diana Ross, Aretha makes a bid to “reach out and touch somebody’s hand” across an ocean of ardent, colorful tie-dye clad fans. And in doing so, those Fillmore West performances — released just a few months later as her second live album — became instantly historic in that they assert the multiracial and cross-gender possibilities of early 1970s rock and roll counterculture that so often went unrealized. As she stretches herself out in the lyrics of the song, the Queen laid the ground for making deep well statements about the politics of trust and coalition building in the face of historical uncertainty, as black liberation changed its pace and tenor, as the anti-war effort grew evermore dire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over three sold out nights, Aretha Franklin would play in the round with King Curtis and the Kingpins, one of the tightest rhythm sections other than James Brown’s JBs, setting off each evening on her own distinct version of Simon and Garfunkel’s “Bridge Over Troubled Water,” a song that marked what turned out to be a crucial period of her transformation as a musician.\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/7IExZv-mgrw'\n title='//www.youtube.com/embed/7IExZv-mgrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Go ahead ‘Retha!” The adoring crowd embraces Aretha the vocalist and pianist as she hails her powerhouse band, a group featuring late great Curtis Ousley on saxophone and the convivial Billy Preston sitting in as guest player at the organ. “Play Billy!” Aretha calls out to her fellow musician as her incandescent cover slowly unfolds, as she wades ever so gracefully into still waters that run deep, as she moves gently and yet fearlessly into the center of Preston’s thick, bright, atmospheric keyboard universe flanked by her backup singers, the Sweethearts of Soul.\u003c/p>\n\u003cp>Aretha’s vocals radiate with the effulgent heat and the ethereal energy of the gospel tradition as she worries lines, improvises impassioned moans and carefully, elegantly puts to use a thing called the melisma, the artful, spiritually-rooted technique of stringing a series of notes together in one syllable so as to stretch out one’s vocal phrasing.\u003c/p>\n\u003cp>Hanging on words, pulling out phrases and turning them over and over so as to wring them for multiple meanings, Aretha here lets us know, without breaking a sweat, that she is still the innovator who birthed a brand of soul music that made spectacularly audible existential and spiritual self-discovery and affirmation, all at the site of her virtuosic vocalization. The philosophical intelligence of her musical phrasing and narrative interpretation set a new standard of excellence in pop music.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“When you’re down and out / When you look up and see yourself on the street / When evening falls so hard / I’ll be there to comfort you / I’ll take your part / I’ll take it when darkness comes / And there’s no one you love around.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Aretha the conduit. Aretha the medium. Aretha the surrogate figure for the masses. She was, especially at this point in her career, between 1971-1973 (called by critics, her “artistically mature period”), a kind of performer who was able to “shap[e] her intimacies with the skill of a dramatist,” as Ann Powers has beautifully put it. Like a great “method actor” who slips into the specific landscape of a particular song to fully inhabit it, Aretha both disappears into the emotional terrain of her “bridge” and unveils a protagonist who expresses herself in the most intense emotive registers.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“Don’t trouble the water… Why don’t ya just let it be”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>Yes, there are rumors that Simon wrote “Bridge Over Troubled Water” “for Aretha” or “with Aretha in mind.” All speculation, but certainly we can hear the ways that the song would operate as a crossroads in her career, a prescient recording that would forecast her historic transition, her own personal and professional bridge from pop superstardom \u003cem>back\u003c/em> to fully immersing herself in the music of the church.\u003c/p>\n\u003cp>“Bridge Over Troubled Water” is, after all, a gateway song — not simply a cover of a gorgeously wrought proclamation of harmony, intimacy and understanding shared between two New York City folkies — but a song that reaches back to a gospel classic which, in turn, draws its inspiration from the Bible.\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/lMvFKpqnsWU'\n title='//www.youtube.com/embed/lMvFKpqnsWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen carefully to the Swan Silvertones’ classic version of “Mary Don’t You Weep,” and one hears the famous line that would inspire Paul Simon to write a song about a bridge as wells as the seeds from Exodus that inspired that line.\u003c/p>\n\u003cp>“Mary Don’t You Weep” gives us the story, from the Gospel of John, of Mary of Bethany, a woman who, along with her sister Martha, mourns over the death of her brother Lazarus. When Jesus arrives at their house, he meets with both sisters. Before raising their brother to new life, he instructs Martha to draw on hope and faith. To Mary he offers added counsel and addresses her tears: “When Jesus saw her weeping, and the Jews who had come along with her also weeping, he was deeply moved in spirit and troubled.”\u003c/p>\n\u003cp>So sing the Swan Silvertones: \u003cem>“Oh Mary don’t you weep. Tell Martha not to moan.”\u003c/em>\u003c/p>\n\u003cp>“Mary Don’t You Weep” started out as a Negro spiritual, entrusted in the 20th century to the likes of the Fisk Jubilee Singers to deliver the Good Word to the segregated masses, and it is a song that has subsequently been picked up by artists as varied as Pete Seeger, Nat King Cole, Bruce Springsteen, Aaron Neville and Take 6 throughout the 20th century .\u003c/p>\n\u003cp>As Aaron Cohen points out in his book on Aretha’s \u003cem>Amazing Grace\u003c/em>, the version that would seemingly have the most overt impact on her is the 1958 recording \u003ca href=\"https://www.youtube.com/watch?v=c5UDBf9Q2bc\">by The Caravans\u003c/a>, the phenomenally influential gospel group of the ’50s and ’60s, founded by Albertine Walker and a launching pad for a run of future superstars of the genre: Shirley Caesar, James Cleveland and Inez Andrews to name but a few.\u003c/p>\n\u003cp>But the Swan Silvertones’ version from 1959 is the only one that features the marvelous lead singer Claude Jeter’s forthright interpolation: “I’ll be a bridge over deep water if you trust in my name.” It was a line that would stick with Paul Simon and one with roots to the greatest escape tale of all time.\u003c/p>\n\u003cp>Sings Jeter, \u003cem>“Pharoah’s Army got drowned in the sea, but Jesus said Mary, your little sister Martha don’t have to moan …. Now can I get a witness.”\u003c/em>\u003c/p>\n\u003cp>The Swan Silvertones version of “Mary Don’t You Weep” folds into its musical story the narrative of Exodus, one of the most famous passages in all of the Bible — when Moses, led by the Lord, saw the Israelites out of slavery in Egypt.\u003c/p>\n\u003cp>“Mary Don’t You Weep” bridges this holy miracle into the story of Jesus raising Lazarus from the dead in the Gospel of John. In doing so, it is a song that testifies to the wonder of heavenly power to comfort, to protect and to revive mortal souls.\u003c/p>\n\u003cp>\u003cem>“I’ll be a bridge over deep water if you trust in my name.” \u003c/em>Jeter’s line recalls the second half of the Exodus passage when the Israelites traveled for three days, battling heat and sun, thirsting for water. With their faith tested, as the tale goes, the “people grumbled against Moses, saying, ‘What are we to drink?’ And the Lord turned bitter water into the sweetest of drink, assuring the people that ‘I am the LORD, who heals you.'”\u003c/p>\n\u003cp>Many people remember this passage from Exodus (with or without the Cecil B. DeMille special effects from the \u003cem>Ten Commandments \u003c/em>film) because of the way that it so spectacularly showcases the might and power of the Almighty, bringing the waters of the Red Sea over Pharaoh’s army, turning bitter water into the sweetest of drink.\u003c/p>\n\u003cp>Oft-overlooked yet just as crucial to the Israelites deliverance are the women on hand who witness and musically testify to the extraordinary turn of events in their midst:\u003c/p>\n\u003cblockquote>\u003cp>“Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: ‘Sing to the LORD, for he is highly exalted. The horse and its rider he has hurled into the sea.'”\u003c/p>\u003c/blockquote>\n\u003cp>Like a bridge, Miriam and the women repeat in song this hallowed flight to freedom. With a “joyful noise,” their voices reanimate the “rock on which Moses stood” to “lead the Hebrew children through.” They are the ones who, like those sisters at the close of Toni Morrison’s \u003cem>Beloved\u003c/em>, “buil[d] voice upon voice until they found it, and when they did it was a wave of sound wide enough to sound deep water and knock the pods off chestnut trees.”\u003c/p>\n\u003cp>We might think of how Aretha picks up the frequency of Claude Jeter singing “I’ll be your bridge over deep water if you trust my name,” so crystal clear that Paul Simon can hear his truth. And it’s she who can hear Miriam and the women’s truth as well as they amplify it, sustain it, make it manifest using “the right combination, the key, the code….”\u003c/p>\n\u003cp>Aretha the code breaker sings through this history, and she also ultimately re-centers that history in a legacy of black women’s agency and conviction.\u003c/p>\n\u003cp>As Cohen reminds, it is Inez Andrews’ “bluesy vamp and original sermonette about Lazarus rising from the tune” in The Caravans’ version of “Mary Don’t You Weep” that Aretha would potently bring to life during the historic \u003cem>Grace\u003c/em> recordings at New Temple Missionary Baptist Church, some nine months after her Fillmore concerts. In that epic, earth-shaking performance, we hear the voice of a black woman actively folding together into one the sacred, secular and sonic histories of the black radical tradition and reminding us of the woman-centered foundations of that tradition. On “Mary,” Aretha follows the road that she’d set for herself on a bridge and carries the congregation through the storm.\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/KA84TNAGWJM'\n title='//www.youtube.com/embed/KA84TNAGWJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is paradigmatic soul at the apex of masterful storytelling. Worth recognizing then, that if in soul performance the very of-this-earth James Brown would make famous the line “take it to the bridge” — an emphatic way of egging his band on and signaling his own virtuosic ability to carry a song from the verse to the chorus to the climax — if in these moments James Brown was announcing his gift of stamina, fierce performative determination, improvisation, and ingenuity, we hear all of this on Aretha Franklin’s \u003cem>Amazing Grace\u003c/em> as well.\u003c/p>\n\u003cp>In Aretha’s stunning performance of “Mary,” alone, we hear Motor City black Baptist royalty meeting New York City Jewish folkie Simon, and we hear Simon meeting Kentucky-born coal miner turned gospel great Jeter. We hear her carrying both men back to Alabama gospel role model Inez Andrews in song, melding together the spiritual and the worldly, Old and New Testament tales of perseverance and faith. We hear her responding to the call made by Miriam, summoning those old school Biblical women’s sonic circuits of energy, and channeling and translating Inez and Paul and Claude.\u003c/p>\n\u003ch3>\u003cstrong>\u003cem>“I’ll be your bridge over deep water if you trust my name.”\u003c/em>\u003c/strong>\u003c/h3>\n\u003cp>The larger lesson for me in that tiny verse in \u003cem>Exodus\u003c/em> and its various rippling echoes in The Caravans and the Swan Silvertones’ versions of “Mary,” rolling on through Aretha’s “Bridge” and on into her own \u003cem>Amazing Grace\u003c/em> performance is that Aretha Franklin is calling out to us to respond and bear witness to the foundations of her soul music revolution. Her music will forever hold the potential to bring the richest array of peoples together in a kind of humanist collectivity that, at its core, celebrates the sound of black womanhood as a site for radical social, spiritual and philosophical possibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No time like now to take that bridge once more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha%27s+Bridge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It has been a very big year for \u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe\u003c/a>.\u003c/p>\n\u003cp>She was named trailblazer of the year at \u003cem>Billboard\u003c/em>‘s Women in Music awards, woman of the year by \u003cem>Glamour\u003c/em>. She came out as pansexual in a sprawling \u003cem>Rolling Stone\u003c/em> cover story. And her album \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\">\u003cem>Dirty Computer\u003c/em>\u003c/a>, released this spring with a companion film — sorry, “emotion picture” — is Grammy-nominated for album of the year and can be found on practically every major list of the best albums of 2018, including ours.\u003c/p>\n\u003cp>[contextly_sidebar id=”8tVKPU6hLeXFgLhpAlKGK6SUj63pWcvU”]\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was named NPR Music’s \u003ca href=\"https://www.npr.org/2018/12/04/671242319/the-50-best-albums-of-2018-page-5\">No. 1 album of 2018\u003c/a>, in part because of its message. As one staffer wrote, the songs take place in “a vivid dystopian world where anyone deemed ‘dirty’ is hunted and chemically lobotomized, or ‘cleaned.’ In this totalitarian world of Dirty Computers, not unlike the divisive reality of 2018, nonconformity can spell extinction if you don’t fight back. With every guitar riff, every interlude, every moment of loving, queer affection, Monáe fights.”\u003c/p>\n\u003cp>Janelle Monáe joined NPR’s Ailsa Chang from the Atlanta studios of her entertainment company, Wondaland Arts Society (whose film division recently entered into a production agreement with Universal), to talk about her process, her plans and why \u003cem>Dirty Computer\u003c/em> could only have been written now. Hear the radio version at the audio link, and read on for highlights — including some moments that didn’t make the broadcast.\u003c/p>\n\u003cp>[ad fullwidth]\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/678450755/679237341\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what \u003c/strong>\u003cem>\u003cstrong>Dirty Computer\u003c/strong>\u003c/em>\u003cstrong> reveals about her career\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was supposed to be the album that came out before my first album, \u003cem>The ArchAndroid\u003c/em>, [but] I felt like I needed to live more. It started to really make itself once I got my mind and my spirit fearless enough to dig deep and have conversations with myself.\u003c/p>\n\u003cp>One of the things that I felt was happening was, I was writing music only when I felt great. It was like, you go into the studio, and I want to go in when my heart is clear, when I know what I want to say. I got to point where it was crippling me, this idea of perfectionism, and it stopped me from writing for a minute. And what I decided to do was take some time. So when I wrote this album, it wasn’t about perfection. It was about the imperfections. It was about embracing all those things that make you unique, even if it makes your own self uncomfortable.\u003c/p>\n\u003cp>\u003cstrong>On the song “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zmG0LAbcmuM\">\u003cstrong>So Afraid\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/zmG0LAbcmuM\u003c/p>\n\u003cp>For me it was about my love and hate relationship with this country. I love being American, I love being born here and having roots here. But there are some really evil things that have happened and continue to happen. And it speaks to being afraid of forgiving. I think of being hurt again, or being manipulated, or not fully standing my ground. And forgiving myself, also — you know, it’s two parts. It’s about being able to love yourself through it all, being able to love where you are right now, and to give yourself permission to forgive yourself when you make mistakes, when you let other people down.\u003c/p>\n\u003cp>\u003cstrong>On the story told in the album’s structure\u003c/strong>\u003c/p>\n\u003cp>The album is broken up into three parts. The first few songs represent the reckoning — reckoning with what it means to be called a n***** for the first time by a white person, or being called a b**** for the first time by a man. And then you have the middle section, where “\u003ca href=\"https://www.youtube.com/watch?v=PaYvlVR_BEc\">Pynk\u003c/a>” falls in, and songs like “\u003ca href=\"https://www.youtube.com/watch?v=tGRzz0oqgUE\">Make Me Feel\u003c/a>,” that are celebratory of sexuality and of womanness. The latter part of the album deals with the reclamation: A song like “\u003ca href=\"https://www.youtube.com/watch?v=POZNheF-KdY\">Americans\u003c/a>” is about reclaiming what it means to be an American. My ancestors helped build the White House, helped build this country. And it’s not time to run away, it’s time to stand your ground and confront what I call the great divide — those who seek to divide us and highlight all our differences and make us fearful of each other.\u003c/p>\n\u003cp>\u003cstrong>On the mission of her film company, Wondaland Pictures\u003c/strong>\u003c/p>\n\u003cp>There’s so many stories out there. If I look at a \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\">\u003cem>Moonlight \u003c/em>\u003c/a>\u003cem>—\u003c/em> a movie that I was extremely excited about being a part of — having a young, gay, black boy highlighted in the way that \u003cem>Moonlight \u003c/em>highlighted his voice and story, I’d never seen in cinema. Even with \u003ca href=\"https://www.npr.org/sections/13.7/2017/02/08/514048864/math-to-the-stars-the-ladies-of-hidden-figures\">\u003cem>Hidden Figures\u003c/em>\u003c/a>\u003cem>,\u003c/em> another film that I was really honored to be a part of, I didn’t have any idea about those women who helped get John Glenn into orbit, or the human computers who were doing all the numbers that it took to get our astronauts into space. So I’m just looking for those unique stories. There are a lot of other people that I respect and admire, like Issa Rae and Lena Waithe and Jordan Peele, who are who are also pushing forward underrepresented voices. I just hope, and Wondaland hopes, to continue to push culture forward and and redefine how we are viewed. I want to make movies the dirty computers can feel proud of.\u003c/p>\n\u003cp>\u003cstrong>On being Janelle Monáe in 2018\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It feels like when you get off from school early in the first grade and your grandmother takes you to get ice cream, and you eat ice cream all night and you don’t have a tummy ache, and then you get to go to the amusement park all by yourself. It’s unexplainable, but it’s very humbling — that word keeps popping up in my mind, and in my heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Janelle+Mon%C3%A1e+On+Her+Dirty%2C+World-Dominating+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a very big year for \u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe\u003c/a>.\u003c/p>\n\u003cp>She was named trailblazer of the year at \u003cem>Billboard\u003c/em>‘s Women in Music awards, woman of the year by \u003cem>Glamour\u003c/em>. She came out as pansexual in a sprawling \u003cem>Rolling Stone\u003c/em> cover story. And her album \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\">\u003cem>Dirty Computer\u003c/em>\u003c/a>, released this spring with a companion film — sorry, “emotion picture” — is Grammy-nominated for album of the year and can be found on practically every major list of the best albums of 2018, including ours.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was named NPR Music’s \u003ca href=\"https://www.npr.org/2018/12/04/671242319/the-50-best-albums-of-2018-page-5\">No. 1 album of 2018\u003c/a>, in part because of its message. As one staffer wrote, the songs take place in “a vivid dystopian world where anyone deemed ‘dirty’ is hunted and chemically lobotomized, or ‘cleaned.’ In this totalitarian world of Dirty Computers, not unlike the divisive reality of 2018, nonconformity can spell extinction if you don’t fight back. With every guitar riff, every interlude, every moment of loving, queer affection, Monáe fights.”\u003c/p>\n\u003cp>Janelle Monáe joined NPR’s Ailsa Chang from the Atlanta studios of her entertainment company, Wondaland Arts Society (whose film division recently entered into a production agreement with Universal), to talk about her process, her plans and why \u003cem>Dirty Computer\u003c/em> could only have been written now. Hear the radio version at the audio link, and read on for highlights — including some moments that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/678450755/679237341\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On what \u003c/strong>\u003cem>\u003cstrong>Dirty Computer\u003c/strong>\u003c/em>\u003cstrong> reveals about her career\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> was supposed to be the album that came out before my first album, \u003cem>The ArchAndroid\u003c/em>, [but] I felt like I needed to live more. It started to really make itself once I got my mind and my spirit fearless enough to dig deep and have conversations with myself.\u003c/p>\n\u003cp>One of the things that I felt was happening was, I was writing music only when I felt great. It was like, you go into the studio, and I want to go in when my heart is clear, when I know what I want to say. I got to point where it was crippling me, this idea of perfectionism, and it stopped me from writing for a minute. And what I decided to do was take some time. So when I wrote this album, it wasn’t about perfection. It was about the imperfections. It was about embracing all those things that make you unique, even if it makes your own self uncomfortable.\u003c/p>\n\u003cp>\u003cstrong>On the song “\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zmG0LAbcmuM\">\u003cstrong>So Afraid\u003c/strong>\u003c/a>\u003cstrong>“\u003c/strong>\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/zmG0LAbcmuM'\n title='//www.youtube.com/embed/zmG0LAbcmuM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For me it was about my love and hate relationship with this country. I love being American, I love being born here and having roots here. But there are some really evil things that have happened and continue to happen. And it speaks to being afraid of forgiving. I think of being hurt again, or being manipulated, or not fully standing my ground. And forgiving myself, also — you know, it’s two parts. It’s about being able to love yourself through it all, being able to love where you are right now, and to give yourself permission to forgive yourself when you make mistakes, when you let other people down.\u003c/p>\n\u003cp>\u003cstrong>On the story told in the album’s structure\u003c/strong>\u003c/p>\n\u003cp>The album is broken up into three parts. The first few songs represent the reckoning — reckoning with what it means to be called a n***** for the first time by a white person, or being called a b**** for the first time by a man. And then you have the middle section, where “\u003ca href=\"https://www.youtube.com/watch?v=PaYvlVR_BEc\">Pynk\u003c/a>” falls in, and songs like “\u003ca href=\"https://www.youtube.com/watch?v=tGRzz0oqgUE\">Make Me Feel\u003c/a>,” that are celebratory of sexuality and of womanness. The latter part of the album deals with the reclamation: A song like “\u003ca href=\"https://www.youtube.com/watch?v=POZNheF-KdY\">Americans\u003c/a>” is about reclaiming what it means to be an American. My ancestors helped build the White House, helped build this country. And it’s not time to run away, it’s time to stand your ground and confront what I call the great divide — those who seek to divide us and highlight all our differences and make us fearful of each other.\u003c/p>\n\u003cp>\u003cstrong>On the mission of her film company, Wondaland Pictures\u003c/strong>\u003c/p>\n\u003cp>There’s so many stories out there. If I look at a \u003ca href=\"https://www.npr.org/2016/10/18/498358778/moonlight-coming-of-age-in-miami-during-the-war-on-drugs-era\">\u003cem>Moonlight \u003c/em>\u003c/a>\u003cem>—\u003c/em> a movie that I was extremely excited about being a part of — having a young, gay, black boy highlighted in the way that \u003cem>Moonlight \u003c/em>highlighted his voice and story, I’d never seen in cinema. Even with \u003ca href=\"https://www.npr.org/sections/13.7/2017/02/08/514048864/math-to-the-stars-the-ladies-of-hidden-figures\">\u003cem>Hidden Figures\u003c/em>\u003c/a>\u003cem>,\u003c/em> another film that I was really honored to be a part of, I didn’t have any idea about those women who helped get John Glenn into orbit, or the human computers who were doing all the numbers that it took to get our astronauts into space. So I’m just looking for those unique stories. There are a lot of other people that I respect and admire, like Issa Rae and Lena Waithe and Jordan Peele, who are who are also pushing forward underrepresented voices. I just hope, and Wondaland hopes, to continue to push culture forward and and redefine how we are viewed. I want to make movies the dirty computers can feel proud of.\u003c/p>\n\u003cp>\u003cstrong>On being Janelle Monáe in 2018\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It feels like when you get off from school early in the first grade and your grandmother takes you to get ice cream, and you eat ice cream all night and you don’t have a tummy ache, and then you get to go to the amusement park all by yourself. It’s unexplainable, but it’s very humbling — that word keeps popping up in my mind, and in my heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Janelle+Mon%C3%A1e+On+Her+Dirty%2C+World-Dominating+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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