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Copland was inspired by a speech Wallace gave that spring at the Free World Association in New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?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>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?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>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last time the rap festival Rolling Loud came to the Bay Area, it didn’t go off without a hitch. Local rap fans \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/1006962099254276096\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> the \u003ca href=\"http://www.xxlmag.com/news/2017/08/travis-scott-lil-wayne-headline-2017-rolling-loud-bay-area/\" target=\"_blank\" rel=\"noopener\">festival’s booking\u003c/a>, which included few local artists. And A Boogie Wit a Hoodie and his entourage \u003ca href=\"http://www.thefader.com/2017/10/21/lil-b-jumped-at-rolling-loud\" target=\"_blank\" rel=\"noopener\">allegedly jumped beloved Bay Area rapper Lil B\u003c/a> in an altercation backstage; Lil B canceled his set, and told the audience that his equipment was stolen in the fight.\u003c/p>\n\u003cp>Although Rolling Loud organizers didn’t return KQED’s request for comment about the Lil B situation last year when we reached out to their publicist, it seems that they’ve taken the feedback about local talent into account for the festival’s 2018 return to the Bay Area.\u003c/p>\n\u003cp>This year’s Rolling Loud takes place at the Oakland Coliseum on Sept. 15–16. In addition to headlining sets by Wiz Khalifa, Rae Sremmurd and Travis Scott, the lineup includes many notable locals. Established OGs E-40 and Berner made the bill, as well as exciting up-and-comers from the Bay Area and Sacramento, including “Icy Girl” rapper Saweetie; buzzed-about East Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">Allblack\u003c/a>; “Scamboy” rapper and internet comedian \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">Guapdad4000\u003c/a>; Oakland’s reigning rap queen \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>; Sacramento’s Mozzy, who was featured on the \u003cem>Black Panther\u003c/em> soundtrack; and more.\u003c/p>\n\u003cp>Check out the full lineup below. Tickets go on sale July 20.\u003c/p>\n\u003cp>https://twitter.com/RollingLoud/status/1019699658233450496\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last time the rap festival Rolling Loud came to the Bay Area, it didn’t go off without a hitch. Local rap fans \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/1006962099254276096\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> the \u003ca href=\"http://www.xxlmag.com/news/2017/08/travis-scott-lil-wayne-headline-2017-rolling-loud-bay-area/\" target=\"_blank\" rel=\"noopener\">festival’s booking\u003c/a>, which included few local artists. And A Boogie Wit a Hoodie and his entourage \u003ca href=\"http://www.thefader.com/2017/10/21/lil-b-jumped-at-rolling-loud\" target=\"_blank\" rel=\"noopener\">allegedly jumped beloved Bay Area rapper Lil B\u003c/a> in an altercation backstage; Lil B canceled his set, and told the audience that his equipment was stolen in the fight.\u003c/p>\n\u003cp>Although Rolling Loud organizers didn’t return KQED’s request for comment about the Lil B situation last year when we reached out to their publicist, it seems that they’ve taken the feedback about local talent into account for the festival’s 2018 return to the Bay Area.\u003c/p>\n\u003cp>This year’s Rolling Loud takes place at the Oakland Coliseum on Sept. 15–16. In addition to headlining sets by Wiz Khalifa, Rae Sremmurd and Travis Scott, the lineup includes many notable locals. Established OGs E-40 and Berner made the bill, as well as exciting up-and-comers from the Bay Area and Sacramento, including “Icy Girl” rapper Saweetie; buzzed-about East Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">Allblack\u003c/a>; “Scamboy” rapper and internet comedian \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">Guapdad4000\u003c/a>; Oakland’s reigning rap queen \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>; Sacramento’s Mozzy, who was featured on the \u003cem>Black Panther\u003c/em> soundtrack; and more.\u003c/p>\n\u003cp>Check out the full lineup below. Tickets go on sale July 20.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>With the retirement of Justice Anthony Kennedy and the nomination of Judge Brett Kavanaugh, the nation is focused, once again, on the make-up of the Supreme Court. And yet \u003ca href=\"https://www.npr.org/tags/215481500/justice-ruth-bader-ginsburg\">Justice Ruth Bader Ginsburg\u003c/a> is the best-known member of the current court; at 85 she continues to be a cultural phenomenon. \u003ca href=\"https://www.npr.org/2018/05/04/608106604/jurist-prudent-documentary-rbg-profiles-ginsburg-on-and-off-the-bench\">A documentary\u003c/a> about her life is a smash hit and she’s become a hero to young women, earning the moniker “The Notorious RBG,” with her name plastered on mugs, t-shirts, even baby clothes.\u003c/p>\n\u003cp>Now, however, comes a release more personal — a series of songs written about her life by her daughter-in-law and produced by her son.\u003c/p>\n\u003cfigure id=\"attachment_13837289\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837289 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9.jpg\" alt=\"Notorious RBG in Song.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Notorious RBG in Song. \u003ccite>(Cedille Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer and composer Patrice Michaels actually started writing the songs in secret, without her husband even knowing what she was up to.\u003c/p>\n\u003cp>“I like my process as a composer to be a little bit private,” Michaels says with a chuckle. Her husband, James Ginsburg, jumps in to add, “And once I heard how good the songs were, I realized what a treasure we had here.”\u003c/p>\n\u003cp>Jim soon began plotting to record and release the songs, all sung by his soprano wife. The new album \u003cem>Notorious RBG in Song\u003c/em> is available now on Jim’s label, Cedille Records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Trailer: Notorious RBG in Song\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/e0pHyJbClNg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Some of the lyrics are based on letters to RBG, which her husband Marty compiled into a book for the Justice’s 50th birthday.\u003c/p>\n\u003cp>“Anita’s Story” is based on a letter from a typist in Marty Ginsburg’s law firm. During the 1960s and ’70s, when RBG was a lawyer leading the legal fight for women’s rights, Anita, the typist, was often drafted to type RBG’s legal briefs. At first, Anita was puzzled by the words she was typing. After months of immersion, though, the typist realized that she too had been converted to feminism.\u003c/p>\n\u003cp>On a trip to Spain with her husband, she was at a party. And, as is the custom, “the host presented Anita’s husband, who announced in his turn, ‘\u003cem>Esta es mi mujer\u003c/em>‘ … ‘this is my woman,” Michaels explains. “And she shoots back at him without thinking, ‘I am not your woman. I am a person.'”\u003c/p>\n\u003cp>Michaels knew from the get-go that the most influential person in RBG’s young life was her mother, Celia Bader, who died after a long battle with cancer, the day before the future Justice was to graduate as valedictorian from high school. But none of Celia Bader’s letters still exist, so Michaels imagined what one must have been like.\u003c/p>\n\u003cp>“Very chatty, very normal,” Michaels says. “And, of course, the background is that Celia knew she was dying of cancer at that time. So the letter is interrupted by Celia’s thoughts about what might happen to Ruth and whether she’s ready to handle herself in the world. And of course, the pain that Celia was suffering.”\u003c/p>\n\u003cp>In interviews with me over the years, Justice Ginsburg has often talked about her mother. “My mother told me to be a lady and for her, that meant be your own person, be independent,” she once said. That theme is reiterated in “\u003ca href=\"https://www.youtube.com/watch?v=R7Bj6pO99Vw\">Celia: An Imagined Letter from 1949\u003c/a>.”\u003c/p>\n\u003cp>One of the most amusing songs on the album is called “The Elevator Thief.” It’s about the misbehavior of RBG’s son, Jim, (yes, the same one) at school.\u003c/p>\n\u003cp>“I would get calls to please come down to talk to the principal about my son’s latest escapade,” Ginsburg recalled in an NPR interview. “And one day I was sitting in my office at Columbia Law School, and I was very weary — I stayed up all night the night before — I said to the principal, ‘This child has two parents. Please alternate calls.'”\u003c/p>\n\u003cp>The headmaster, as instructed, did call Marty Ginsburg, who promptly came over to the school. When he asked what his son’s offense had been, the headmaster told him that his son had “stolen the elevator,” to which the boy’s father responded, “Well, how far could he have taken it?”\u003c/p>\n\u003cp>The moral of the story, says Jim, a.k.a. “The Elevator Thief,” is that at the end of the day, “My behavior didn’t improve, but somehow the calls became much more infrequent when they had to consider bothering a man about my behavior.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"My Dearest Ruth\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/l_wiq2dn2ts?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The album also has songs written by other composers, among them \u003ca href=\"https://www.garrop.com/\">Stacy Garrop\u003c/a>, who put to music the last letter Marty wrote to RBG, just days before his death in 2010.\u003c/p>\n\u003cp>Marty and Ruth Bader Ginsburg were married for 56 years. The Justice found the letter as she was packing up her husband’s hospital room to take him home, after he had decided to forego any further treatment. I asked the Justice to read the letter aloud during \u003ca href=\"https://www.npr.org/2016/10/03/495820477/no-ruth-bader-ginsburg-does-not-intend-to-retire-anytime-soon\">an interview\u003c/a> a couple of years ago.\u003c/p>\n\u003cp>“My dearest Ruth, you are the only person I have loved in my life,” she began. “The time has come for me to tough it out or to take leave of life because the loss of quality now simply overwhelms. I hope you will support where I come out, but I understand you may not. I will not love you a jot less.”\u003c/p>\n\u003cp>In the 40-plus years that I have known Ruth Bader Ginsburg, that was the first and only time I ever saw her cry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Notorious RBG in Song \u003cem>is available now via Cedille Records. For those interested, here is a playlist of RBG’s \u003ca href=\"https://open.spotify.com/user/cedillerecords/playlist/0HSw8DV6YObp3SoUuanb0x?si=wO0WP7a4RGOFdKsznpCZTQ\" target=\"_blank\" rel=\"noopener\">favorite recordings\u003c/a>\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Justice+Ruth+Bader+Ginsburg%27s+Life+Immortalized+In+Song&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the retirement of Justice Anthony Kennedy and the nomination of Judge Brett Kavanaugh, the nation is focused, once again, on the make-up of the Supreme Court. And yet \u003ca href=\"https://www.npr.org/tags/215481500/justice-ruth-bader-ginsburg\">Justice Ruth Bader Ginsburg\u003c/a> is the best-known member of the current court; at 85 she continues to be a cultural phenomenon. \u003ca href=\"https://www.npr.org/2018/05/04/608106604/jurist-prudent-documentary-rbg-profiles-ginsburg-on-and-off-the-bench\">A documentary\u003c/a> about her life is a smash hit and she’s become a hero to young women, earning the moniker “The Notorious RBG,” with her name plastered on mugs, t-shirts, even baby clothes.\u003c/p>\n\u003cp>Now, however, comes a release more personal — a series of songs written about her life by her daughter-in-law and produced by her son.\u003c/p>\n\u003cfigure id=\"attachment_13837289\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837289 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9.jpg\" alt=\"Notorious RBG in Song.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/notorious-rbg-in-song_sq-bd9e832951fbcd01adbb4fa7a9463c15b3e3d0c9-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Notorious RBG in Song. \u003ccite>(Cedille Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer and composer Patrice Michaels actually started writing the songs in secret, without her husband even knowing what she was up to.\u003c/p>\n\u003cp>“I like my process as a composer to be a little bit private,” Michaels says with a chuckle. Her husband, James Ginsburg, jumps in to add, “And once I heard how good the songs were, I realized what a treasure we had here.”\u003c/p>\n\u003cp>Jim soon began plotting to record and release the songs, all sung by his soprano wife. The new album \u003cem>Notorious RBG in Song\u003c/em> is available now on Jim’s label, Cedille Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Trailer: Notorious RBG in Song\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/e0pHyJbClNg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Some of the lyrics are based on letters to RBG, which her husband Marty compiled into a book for the Justice’s 50th birthday.\u003c/p>\n\u003cp>“Anita’s Story” is based on a letter from a typist in Marty Ginsburg’s law firm. During the 1960s and ’70s, when RBG was a lawyer leading the legal fight for women’s rights, Anita, the typist, was often drafted to type RBG’s legal briefs. At first, Anita was puzzled by the words she was typing. After months of immersion, though, the typist realized that she too had been converted to feminism.\u003c/p>\n\u003cp>On a trip to Spain with her husband, she was at a party. And, as is the custom, “the host presented Anita’s husband, who announced in his turn, ‘\u003cem>Esta es mi mujer\u003c/em>‘ … ‘this is my woman,” Michaels explains. “And she shoots back at him without thinking, ‘I am not your woman. I am a person.'”\u003c/p>\n\u003cp>Michaels knew from the get-go that the most influential person in RBG’s young life was her mother, Celia Bader, who died after a long battle with cancer, the day before the future Justice was to graduate as valedictorian from high school. But none of Celia Bader’s letters still exist, so Michaels imagined what one must have been like.\u003c/p>\n\u003cp>“Very chatty, very normal,” Michaels says. “And, of course, the background is that Celia knew she was dying of cancer at that time. So the letter is interrupted by Celia’s thoughts about what might happen to Ruth and whether she’s ready to handle herself in the world. And of course, the pain that Celia was suffering.”\u003c/p>\n\u003cp>In interviews with me over the years, Justice Ginsburg has often talked about her mother. “My mother told me to be a lady and for her, that meant be your own person, be independent,” she once said. That theme is reiterated in “\u003ca href=\"https://www.youtube.com/watch?v=R7Bj6pO99Vw\">Celia: An Imagined Letter from 1949\u003c/a>.”\u003c/p>\n\u003cp>One of the most amusing songs on the album is called “The Elevator Thief.” It’s about the misbehavior of RBG’s son, Jim, (yes, the same one) at school.\u003c/p>\n\u003cp>“I would get calls to please come down to talk to the principal about my son’s latest escapade,” Ginsburg recalled in an NPR interview. “And one day I was sitting in my office at Columbia Law School, and I was very weary — I stayed up all night the night before — I said to the principal, ‘This child has two parents. Please alternate calls.'”\u003c/p>\n\u003cp>The headmaster, as instructed, did call Marty Ginsburg, who promptly came over to the school. When he asked what his son’s offense had been, the headmaster told him that his son had “stolen the elevator,” to which the boy’s father responded, “Well, how far could he have taken it?”\u003c/p>\n\u003cp>The moral of the story, says Jim, a.k.a. “The Elevator Thief,” is that at the end of the day, “My behavior didn’t improve, but somehow the calls became much more infrequent when they had to consider bothering a man about my behavior.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"My Dearest Ruth\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/l_wiq2dn2ts?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The album also has songs written by other composers, among them \u003ca href=\"https://www.garrop.com/\">Stacy Garrop\u003c/a>, who put to music the last letter Marty wrote to RBG, just days before his death in 2010.\u003c/p>\n\u003cp>Marty and Ruth Bader Ginsburg were married for 56 years. The Justice found the letter as she was packing up her husband’s hospital room to take him home, after he had decided to forego any further treatment. I asked the Justice to read the letter aloud during \u003ca href=\"https://www.npr.org/2016/10/03/495820477/no-ruth-bader-ginsburg-does-not-intend-to-retire-anytime-soon\">an interview\u003c/a> a couple of years ago.\u003c/p>\n\u003cp>“My dearest Ruth, you are the only person I have loved in my life,” she began. “The time has come for me to tough it out or to take leave of life because the loss of quality now simply overwhelms. I hope you will support where I come out, but I understand you may not. I will not love you a jot less.”\u003c/p>\n\u003cp>In the 40-plus years that I have known Ruth Bader Ginsburg, that was the first and only time I ever saw her cry.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Notorious RBG in Song \u003cem>is available now via Cedille Records. For those interested, here is a playlist of RBG’s \u003ca href=\"https://open.spotify.com/user/cedillerecords/playlist/0HSw8DV6YObp3SoUuanb0x?si=wO0WP7a4RGOFdKsznpCZTQ\" target=\"_blank\" rel=\"noopener\">favorite recordings\u003c/a>\u003c/em>\u003cem>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Justice+Ruth+Bader+Ginsburg%27s+Life+Immortalized+In+Song&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Archivist-Electronic Musician Cruel Diagonals Embraces Curiosity",
"headTitle": "Archivist-Electronic Musician Cruel Diagonals Embraces Curiosity | KQED",
"content": "\u003cp>In terms of formal job training, Megan Mitchell is a librarian. Specifically, she’s an archivist who got her master’s degree in library and information science from University of Washington last year, with a specific interest in sonic collections and found recordings. But Mitchell is also a singer, composer, DJ and \u003ca href=\"https://medium.com/@immaculatedegenerate/accountability-and-community-in-electronic-music-toward-an-anti-oppression-framework-db7a5fc8b42e\" target=\"_blank\" rel=\"noopener\">essayist\u003c/a>. Her different creative practices combine into a process that informs her projects in many fields at once.\u003c/p>\n\u003cp>“The common thread, it’s always been music,” says Mitchell in an interview at a favored Oakland tea house of hers. “There’s also a common thread of social justice, and my interest in research and representation, and undoing very heteronormative, colonized, white supremacist ideologies that are pervasive in research, in music, industries, communities.”\u003c/p>\n\u003cp>These threads influence how Mitchell approaches her archival work; her previous gig assisting prolific indie and metal producer Randall Dunn in Seattle; and her ongoing curation of \u003ca href=\"https://manymanywomen.com/\" target=\"_blank\" rel=\"noopener\">Many Many Women\u003c/a>, a site dedicated to women and non-binary artists working in experimental music. She also organizes workshops and events featuring noted avant-garde figures like the late Pauline Oliveros.\u003c/p>\n\u003cp>“I think what ends up happening is that all those things end up informing my creative process, as well,” Mitchell observes, “It’s just my brain making different outbursts at various junctures on things that I’m interested in.”\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=2876764174/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>\u003cbr>\n\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mitchell’s next step on the musical front is the July 13 release of her debut album under the name \u003ca href=\"https://crueldiagonals.bandcamp.com/album/disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>. Titled \u003cem>Disambiguation\u003c/em>—a library term referring to an expansion of a search process for wider overall results—it’s a remarkable first release, easily crossing boundaries between ambient electronic explorations and avant-garde vocal approaches.\u003c/p>\n\u003cp>“I think a lot of what I do vocally is in direct resistance to what I was trained on, because I am always concerned with being too pretty with my voice,” she explains.\u003c/p>\n\u003cp>Yet \u003cem>Disambiguation\u003c/em> never feels daunting—instead, it’s an album that makes one want to lean in and listen more closely to catch every detail. From its quietly tense opener, “Innate Abstraction,” through the slow-burn drama of the concluding “Intent to Vacate,” Mitchell creates an involved 45-minute experience.\u003c/p>\n\u003cfigure id=\"attachment_13837058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/cd4-800x1067.jpg\" alt=\"Cruel Diagonals' debut album, 'Disambiguation,' comes out July 13. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruel Diagonals’ debut album, ‘Disambiguation,’ comes out July 13. \u003ccite>(Ned Raggett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not goth per se, but \u003cem>Disambiguation\u003c/em> is not that far removed in terms of sonic qualities and emotional impact: Mitchell’s vocals can be coolly keening or warmly entrancing, changing like a series of dramatic roles. Dark, electronic swells of sound, subtle and soft melodies, murmuring beats and glitchy rhythms ebb and flow throughout. To say that it all reflects Mitchell’s research interests isn’t a stretch: \u003cem>Disambiguation\u003c/em> suggests shadowy spaces of secret knowledge brought into the light, a kind of living catalog of sound filtered through an artist’s particular perspective.\u003c/p>\n\u003cp>Mitchell says that her occasional DJ work under the name DJ Degenerate is to thank for \u003cem>Disambiguation\u003c/em>’s sense of flow. “I wanted the album to reflect the tension and release, the quiet moments, and inserting an unexpected element,” she says. “And disrupting that as well—kind of disrupting the flow in a way that is somewhat jarring. You didn’t expect certain elements, but it makes sense once you look at it broadly.”\u003c/p>\n\u003cp>Just as Mitchell’s work traverses different disciplines, the artist herself doesn’t quite feel at home in one particular scene; her upcoming release shows for \u003cem>Disambiguation\u003c/em> take place in a bookstore and an art gallery (Adobe Books and Luggage Store).\u003c/p>\n\u003cp>“I think that’s kind of a good description of me in any community that I partake in: I’m just a weird fit,” she says. And I’m fine with that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Cruel Diagonals performs July 19 at \u003c/i>\u003ca href=\"http://www.luggagestoregallery.org/\">\u003ci>Luggage Story Gallery\u003c/i>\u003c/a> \u003cem>in San Francisco and July 20 at\u003c/em> \u003ca href=\"http://www.adobebooks.com/events/2018/7/20/live-music-cruel-diagonals-record-release-fyrhtu\">\u003ci>Adobe Books & Arts Cooperative\u003c/i>\u003c/a>\u003cem>, also in San Francisco.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In terms of formal job training, Megan Mitchell is a librarian. Specifically, she’s an archivist who got her master’s degree in library and information science from University of Washington last year, with a specific interest in sonic collections and found recordings. But Mitchell is also a singer, composer, DJ and \u003ca href=\"https://medium.com/@immaculatedegenerate/accountability-and-community-in-electronic-music-toward-an-anti-oppression-framework-db7a5fc8b42e\" target=\"_blank\" rel=\"noopener\">essayist\u003c/a>. Her different creative practices combine into a process that informs her projects in many fields at once.\u003c/p>\n\u003cp>“The common thread, it’s always been music,” says Mitchell in an interview at a favored Oakland tea house of hers. “There’s also a common thread of social justice, and my interest in research and representation, and undoing very heteronormative, colonized, white supremacist ideologies that are pervasive in research, in music, industries, communities.”\u003c/p>\n\u003cp>These threads influence how Mitchell approaches her archival work; her previous gig assisting prolific indie and metal producer Randall Dunn in Seattle; and her ongoing curation of \u003ca href=\"https://manymanywomen.com/\" target=\"_blank\" rel=\"noopener\">Many Many Women\u003c/a>, a site dedicated to women and non-binary artists working in experimental music. She also organizes workshops and events featuring noted avant-garde figures like the late Pauline Oliveros.\u003c/p>\n\u003cp>“I think what ends up happening is that all those things end up informing my creative process, as well,” Mitchell observes, “It’s just my brain making different outbursts at various junctures on things that I’m interested in.”\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=2876764174/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>\u003cbr>\n\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mitchell’s next step on the musical front is the July 13 release of her debut album under the name \u003ca href=\"https://crueldiagonals.bandcamp.com/album/disambiguation\" target=\"_blank\" rel=\"noopener\">Cruel Diagonals\u003c/a>. Titled \u003cem>Disambiguation\u003c/em>—a library term referring to an expansion of a search process for wider overall results—it’s a remarkable first release, easily crossing boundaries between ambient electronic explorations and avant-garde vocal approaches.\u003c/p>\n\u003cp>“I think a lot of what I do vocally is in direct resistance to what I was trained on, because I am always concerned with being too pretty with my voice,” she explains.\u003c/p>\n\u003cp>Yet \u003cem>Disambiguation\u003c/em> never feels daunting—instead, it’s an album that makes one want to lean in and listen more closely to catch every detail. From its quietly tense opener, “Innate Abstraction,” through the slow-burn drama of the concluding “Intent to Vacate,” Mitchell creates an involved 45-minute experience.\u003c/p>\n\u003cfigure id=\"attachment_13837058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/cd4-800x1067.jpg\" alt=\"Cruel Diagonals' debut album, 'Disambiguation,' comes out July 13. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/cd4-520x694.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruel Diagonals’ debut album, ‘Disambiguation,’ comes out July 13. \u003ccite>(Ned Raggett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not goth per se, but \u003cem>Disambiguation\u003c/em> is not that far removed in terms of sonic qualities and emotional impact: Mitchell’s vocals can be coolly keening or warmly entrancing, changing like a series of dramatic roles. Dark, electronic swells of sound, subtle and soft melodies, murmuring beats and glitchy rhythms ebb and flow throughout. To say that it all reflects Mitchell’s research interests isn’t a stretch: \u003cem>Disambiguation\u003c/em> suggests shadowy spaces of secret knowledge brought into the light, a kind of living catalog of sound filtered through an artist’s particular perspective.\u003c/p>\n\u003cp>Mitchell says that her occasional DJ work under the name DJ Degenerate is to thank for \u003cem>Disambiguation\u003c/em>’s sense of flow. “I wanted the album to reflect the tension and release, the quiet moments, and inserting an unexpected element,” she says. “And disrupting that as well—kind of disrupting the flow in a way that is somewhat jarring. You didn’t expect certain elements, but it makes sense once you look at it broadly.”\u003c/p>\n\u003cp>Just as Mitchell’s work traverses different disciplines, the artist herself doesn’t quite feel at home in one particular scene; her upcoming release shows for \u003cem>Disambiguation\u003c/em> take place in a bookstore and an art gallery (Adobe Books and Luggage Store).\u003c/p>\n\u003cp>“I think that’s kind of a good description of me in any community that I partake in: I’m just a weird fit,” she says. And I’m fine with that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Cruel Diagonals performs July 19 at \u003c/i>\u003ca href=\"http://www.luggagestoregallery.org/\">\u003ci>Luggage Story Gallery\u003c/i>\u003c/a> \u003cem>in San Francisco and July 20 at\u003c/em> \u003ca href=\"http://www.adobebooks.com/events/2018/7/20/live-music-cruel-diagonals-record-release-fyrhtu\">\u003ci>Adobe Books & Arts Cooperative\u003c/i>\u003c/a>\u003cem>, also in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&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>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "XO Music Festival Canceled After Bizarre Series of Red Flags",
"headTitle": "XO Music Festival Canceled After Bizarre Series of Red Flags | KQED",
"content": "\u003cp>XO Music Festival, it turns out, was too good to be true.\u003c/p>\n\u003cp>After several performers pulled out of the XO Music Festival lineup, and multiple questions arose about organizers’ ability to deliver on their ambitious Antioch event, festival venue Contra Costa Event Park issued a press release this morning stating that the hip-hop and comedy festival slated for July 13–15 has been canceled.\u003c/p>\n\u003cp>[contextly_sidebar id=”L7RCY5MBP66BVdC1HZH6yc013vOAy6dx”]\u003c/p>\n\u003cp>“Due to promoters lack of fulfilling contractual obligations between the Contra Costa Event Park and World Class Entertainment, Event Park Management in the best interest and safety of our facility, event attendees and the City of Antioch have no choice but to cancel the XO Music Festival,” the press release reads, directing ticketholders to info@xoxomusicfestival.com and sams@xoxomusicfestival.com for refunds.\u003c/p>\n\u003cp>XO Festival’s website \u003ca href=\"https://xoxomusicfestival.com/event-terms/\" target=\"_blank\" rel=\"noopener\">stipulates\u003c/a> that organizers can “cancel the Festival without further legal or financial obligation or liability to you, including the obligation to issue You a refund or to reschedule the Festival.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, in a July 11 email, an unnamed XO Music Festival organizer told KQED, “Our tickets provider will 100% offer full refunds to anyone if the festival is terminated.”\u003c/p>\n\u003cp>[\u003cstrong>Update, 11:15am:\u003c/strong> XO Music Festival updated its website stating that the event was canceled due to low ticket sales, “in part due to the fact that there were some negative media reports targeting us, with which we strongly disagree.” The statement concluded that tickets will be refunded through the ticketing agent, GrowTix, and that the festival will be rescheduled for a later date.]\u003c/p>\n\u003cp>Things already looked dire in the weeks leading up to XO Fest: several artists canceled their sets, citing lack of compensation. And as of July 10, three days before the festival, the Contra Costa Event Park remained bare—with no evidence of the three stages with pyrotechnics, a color arena, a foam pit, a bounce house or carnival rides that marketing materials promised.\u003c/p>\n\u003cp>KQED reached organizers by email on July 11 with a series of questions. In an unsigned emailed response from the festival’s official email, an XO Music Festival representative declined to answer whether or not the festival would start on July 13 at noon as planned. The response also did not address whether set-up at the festival site had begun.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://www.kqed.org/arts/13832625/xo-fest-in-antioch-already-being-called-the-next-fyre-festival\" target=\"_blank\" rel=\"noopener\">first reported on concerns about XO Music Festival in May\u003c/a>, after concert industry blog Amplify raised \u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">several red flags\u003c/a>. The Antioch hip-hop festival boasted an ambitious array of attractions and VIP experiences, plus a star-studded lineup featuring T.I., Ludacris and Bone Thugs-N-Harmony, with Carmen Electra and the \u003cem>Jersey Shore\u003c/em> cast as hosts.\u003c/p>\n\u003cp>After a series of public records requests, Amplify’s David Brooks discovered that XO Fest’s organizer Sami Habib, a.k.a. Habibullah Said Qadir, is one of two brothers currently out on bail in a \u003ca href=\"http://nixle.com/alert/6404263/\" target=\"_blank\" rel=\"noopener\">Fremont rental scam case\u003c/a>, in which the brothers allegedly moved into a series of high-end properties using falsified documents and then failed to pay rent.\u003c/p>\n\u003cfigure id=\"attachment_13836928\" class=\"wp-caption alignright\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg\" alt=\"XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib, and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018.\" width=\"420\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-375x211.jpg 375w\" sizes=\"(max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib (right), and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018. \u003ccite>(Fremont Police Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were other strange details: XO Music Festival’s website relied on clip art and photos from other festivals around the world, and boasted sponsors like BART and Thizzler, who later confirmed that they were never affiliated with the fest (XO Fest since removed the logos from their website). The festival also changed its name from XOXO Music Festival after a trademark dispute with an event in Portland of the same name.\u003c/p>\n\u003cp>After KQED’s May 18 story ran, our office received a phone call on behalf of XO Fest from a man who refused to disclose his identity. He suggested that KQED remove the article, but could not identify any details in the story as factually incorrect.\u003c/p>\n\u003cp>A call from this reporter back to the phone number given went unreturned, as did a follow-up email. On July 10, KQED received an email from another unnamed XO Fest rep: “Honestly we are trying to create something amazing here, an outlet for up and coming artists,” they wrote. “This is not about money! You know that festivals like ours lose the first few years. If it was about money we would be doing something else.”\u003c/p>\n\u003cp>In subsequent correspondence, XO Fest organizers and representatives continued to decline to identify themselves.\u003c/p>\n\u003cp>Just days before XO Fest’s July 13 scheduled kickoff, several artists dropped out of the event, citing bad business practices on the part of the organizers.\u003c/p>\n\u003cp>“This was not of my choosing to not perform, but it appears that this company lead many of the artists to believe this was a legit concert, signed contracts, used our images and names (which btw was against contract stipulations) to sell tickets, but never confirmed with financial contractural agreements,” wrote artist Trinere in a \u003ca href=\"https://www.facebook.com/photo.php?fbid=10211238419816016&set=a.1579762693697.2068428.1224557504&type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>, apologizing to her fans for pulling out of the fest.\u003c/p>\n\u003cp>https://twitter.com/BrentCurriden/status/1015289261556314112\u003c/p>\n\u003cp>San Francisco band Lords of Sealand also canceled their set, though as of July 11 their name remained on the lineup. Brent Curriden of the band explained \u003ca href=\"https://twitter.com/BrentCurriden/status/1016418108922138624\" target=\"_blank\" rel=\"noopener\">on Twitter\u003c/a> that after initially agreeing to play for free, the band asked to be paid when several other artists dropped out. “We named our price, they told us they would send the money,” he wrote. “After hounding for them for 2 months they offered less than half of what we asked.”\u003c/p>\n\u003cp>In an email, an unnamed XO Fest representative responded to KQED: “When the performer agrees to perform for free from the beginning and then raises the fee after we work so hard to promo them it’s extremely unethical. We have proof of this.”\u003c/p>\n\u003cp>https://twitter.com/pacoromane/status/1016025686811795457\u003c/p>\n\u003cp>San Francisco comedian Paco Romane tweeted that although his image and bio were featured on XO Fest’s website, he was on tour and was not scheduled to perform at the fest at all. Meanwhile, a representative for Vanilla Ice told the \u003ca href=\"https://www.sfchronicle.com/music/article/XO-Festival-a-new-music-event-in-the-East-Bay-13064632.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, “We are requesting full payment for Vanilla Ice before he gets on a plane.”\u003c/p>\n\u003cp>Bands Will to Power and Magic! also canceled their sets. The cast of \u003cem>Jersey Shore\u003c/em> and Carmen Electra disappeared from the flyers, as did high profile acts like Kid ‘n Play and Rev Run of Run DMC.\u003c/p>\n\u003cp>Nonetheless, a person using the XO Fest official Twitter account assured KPIX reporter Joe Vazquez that “honestly everything is perfect.” In an email to KQED, the unnamed XO representative explained Trinere and Will to Power’s cancellations: “After several attempts asking for a legitimate contract and no answer we decided to quickly remove the other 2 performers from our promotion and made a statement on social.”\u003c/p>\n\u003cp>https://twitter.com/XOMusicFestival/status/1016564324242882562\u003c/p>\n\u003cp>(Friday’s headliner, Oakland favorite Mistah F.A.B., confirmed to KQED that he had received advance payment in full for his performance.)\u003c/p>\n\u003cp>San Francisco rapper TroyLLF, featured on Sunday’s bill, sent screenshots to KQED of his email correspondence with representatives from XO Fest. He was asked to perform for free. In an email from XO Fest’s Linda Rodriguez, he was told that his DJ would have to purchase his own ticket despite being part of the performance.\u003c/p>\n\u003cp>“To me it seems super sketchy and unprofessional,” said TroyLLF. “And like a money scheme.”\u003c/p>\n\u003cp>Asked by KQED about performers needing to purchase their own tickets, the unnamed XO Fest representative suggested that the DJ in question was not a “legitimate” part of TroyLLF’s performance. “Artists get passes for every legitimate performer,” they wrote. “When artists out of the blue request passes for people that are not DJs or performers they need to purchase tickets. It’s very clear who’s a band member and who’s not.”\u003c/p>\n\u003cfigure id=\"attachment_13836864\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png\" alt=\"In an email, XO Festival's Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-160x285.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-675x1200.png 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-240x427.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-375x667.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-520x925.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">In an email, XO Festival’s Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \u003ccite>(TroyLLF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tony B. Conscious, an artist vendor, informed KQED that XO Fest organizers told him that vendors made $12,000 from festival booths last year, even though there was no festival in 2017.\u003c/p>\n\u003cp>“I’m f-cking living in my van trying to save me enough money to get me a Sprinter to get out of this situation,” he told KQED, “and they charged me $700 for this booth that I did not have.”\u003c/p>\n\u003cp>Tony B. Conscious informed KQED in the hours after the festival cancellation that he had gone to the Contra Costa Event Center and met with Habib, who refunded his money.\u003c/p>\n\u003cp>XO Fest originally promised seven stages, but scaled that number down to three stages in its advertising materials. But when KPIX \u003ca href=\"https://sanfrancisco.cbslocal.com/2018/07/10/xo-music-festival-artists-bay-area/\" target=\"_blank\" rel=\"noopener\">visited Contra Costa Event Park\u003c/a> on July 10, they saw no evidence of any set-up in progress—no crews, no trailers, just an empty field and uncollected garbage. The XO representative who returned KQED’s request for comment did not confirm whether or not set-up had begun, and ignored the question of whether the festival will begin at noon on Friday.\u003c/p>\n\u003cp>Now we know that will not be the case.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story will continue to be updated as more details emerge.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>XO Music Festival, it turns out, was too good to be true.\u003c/p>\n\u003cp>After several performers pulled out of the XO Music Festival lineup, and multiple questions arose about organizers’ ability to deliver on their ambitious Antioch event, festival venue Contra Costa Event Park issued a press release this morning stating that the hip-hop and comedy festival slated for July 13–15 has been canceled.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Due to promoters lack of fulfilling contractual obligations between the Contra Costa Event Park and World Class Entertainment, Event Park Management in the best interest and safety of our facility, event attendees and the City of Antioch have no choice but to cancel the XO Music Festival,” the press release reads, directing ticketholders to info@xoxomusicfestival.com and sams@xoxomusicfestival.com for refunds.\u003c/p>\n\u003cp>XO Festival’s website \u003ca href=\"https://xoxomusicfestival.com/event-terms/\" target=\"_blank\" rel=\"noopener\">stipulates\u003c/a> that organizers can “cancel the Festival without further legal or financial obligation or liability to you, including the obligation to issue You a refund or to reschedule the Festival.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, in a July 11 email, an unnamed XO Music Festival organizer told KQED, “Our tickets provider will 100% offer full refunds to anyone if the festival is terminated.”\u003c/p>\n\u003cp>[\u003cstrong>Update, 11:15am:\u003c/strong> XO Music Festival updated its website stating that the event was canceled due to low ticket sales, “in part due to the fact that there were some negative media reports targeting us, with which we strongly disagree.” The statement concluded that tickets will be refunded through the ticketing agent, GrowTix, and that the festival will be rescheduled for a later date.]\u003c/p>\n\u003cp>Things already looked dire in the weeks leading up to XO Fest: several artists canceled their sets, citing lack of compensation. And as of July 10, three days before the festival, the Contra Costa Event Park remained bare—with no evidence of the three stages with pyrotechnics, a color arena, a foam pit, a bounce house or carnival rides that marketing materials promised.\u003c/p>\n\u003cp>KQED reached organizers by email on July 11 with a series of questions. In an unsigned emailed response from the festival’s official email, an XO Music Festival representative declined to answer whether or not the festival would start on July 13 at noon as planned. The response also did not address whether set-up at the festival site had begun.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://www.kqed.org/arts/13832625/xo-fest-in-antioch-already-being-called-the-next-fyre-festival\" target=\"_blank\" rel=\"noopener\">first reported on concerns about XO Music Festival in May\u003c/a>, after concert industry blog Amplify raised \u003ca href=\"http://ampthemag.com/the-real/is-xoxo-fest-in-northern-california-the-next-fyre-festival/\" target=\"_blank\" rel=\"noopener\">several red flags\u003c/a>. The Antioch hip-hop festival boasted an ambitious array of attractions and VIP experiences, plus a star-studded lineup featuring T.I., Ludacris and Bone Thugs-N-Harmony, with Carmen Electra and the \u003cem>Jersey Shore\u003c/em> cast as hosts.\u003c/p>\n\u003cp>After a series of public records requests, Amplify’s David Brooks discovered that XO Fest’s organizer Sami Habib, a.k.a. Habibullah Said Qadir, is one of two brothers currently out on bail in a \u003ca href=\"http://nixle.com/alert/6404263/\" target=\"_blank\" rel=\"noopener\">Fremont rental scam case\u003c/a>, in which the brothers allegedly moved into a series of high-end properties using falsified documents and then failed to pay rent.\u003c/p>\n\u003cfigure id=\"attachment_13836928\" class=\"wp-caption alignright\" style=\"max-width: 420px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg\" alt=\"XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib, and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018.\" width=\"420\" height=\"236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers.jpg 420w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/qadir-brothers-375x211.jpg 375w\" sizes=\"(max-width: 420px) 100vw, 420px\">\u003cfigcaption class=\"wp-caption-text\">XO Festival organizer Habibullah Qadir, a.k.a. Sami Habib (right), and his brother Mohammed Qadir were indicted in a Fremont rental scam case in February 2018. \u003ccite>(Fremont Police Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were other strange details: XO Music Festival’s website relied on clip art and photos from other festivals around the world, and boasted sponsors like BART and Thizzler, who later confirmed that they were never affiliated with the fest (XO Fest since removed the logos from their website). The festival also changed its name from XOXO Music Festival after a trademark dispute with an event in Portland of the same name.\u003c/p>\n\u003cp>After KQED’s May 18 story ran, our office received a phone call on behalf of XO Fest from a man who refused to disclose his identity. He suggested that KQED remove the article, but could not identify any details in the story as factually incorrect.\u003c/p>\n\u003cp>A call from this reporter back to the phone number given went unreturned, as did a follow-up email. On July 10, KQED received an email from another unnamed XO Fest rep: “Honestly we are trying to create something amazing here, an outlet for up and coming artists,” they wrote. “This is not about money! You know that festivals like ours lose the first few years. If it was about money we would be doing something else.”\u003c/p>\n\u003cp>In subsequent correspondence, XO Fest organizers and representatives continued to decline to identify themselves.\u003c/p>\n\u003cp>Just days before XO Fest’s July 13 scheduled kickoff, several artists dropped out of the event, citing bad business practices on the part of the organizers.\u003c/p>\n\u003cp>“This was not of my choosing to not perform, but it appears that this company lead many of the artists to believe this was a legit concert, signed contracts, used our images and names (which btw was against contract stipulations) to sell tickets, but never confirmed with financial contractural agreements,” wrote artist Trinere in a \u003ca href=\"https://www.facebook.com/photo.php?fbid=10211238419816016&set=a.1579762693697.2068428.1224557504&type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook post\u003c/a>, apologizing to her fans for pulling out of the fest.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco band Lords of Sealand also canceled their set, though as of July 11 their name remained on the lineup. Brent Curriden of the band explained \u003ca href=\"https://twitter.com/BrentCurriden/status/1016418108922138624\" target=\"_blank\" rel=\"noopener\">on Twitter\u003c/a> that after initially agreeing to play for free, the band asked to be paid when several other artists dropped out. “We named our price, they told us they would send the money,” he wrote. “After hounding for them for 2 months they offered less than half of what we asked.”\u003c/p>\n\u003cp>In an email, an unnamed XO Fest representative responded to KQED: “When the performer agrees to perform for free from the beginning and then raises the fee after we work so hard to promo them it’s extremely unethical. We have proof of this.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco comedian Paco Romane tweeted that although his image and bio were featured on XO Fest’s website, he was on tour and was not scheduled to perform at the fest at all. Meanwhile, a representative for Vanilla Ice told the \u003ca href=\"https://www.sfchronicle.com/music/article/XO-Festival-a-new-music-event-in-the-East-Bay-13064632.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, “We are requesting full payment for Vanilla Ice before he gets on a plane.”\u003c/p>\n\u003cp>Bands Will to Power and Magic! also canceled their sets. The cast of \u003cem>Jersey Shore\u003c/em> and Carmen Electra disappeared from the flyers, as did high profile acts like Kid ‘n Play and Rev Run of Run DMC.\u003c/p>\n\u003cp>Nonetheless, a person using the XO Fest official Twitter account assured KPIX reporter Joe Vazquez that “honestly everything is perfect.” In an email to KQED, the unnamed XO representative explained Trinere and Will to Power’s cancellations: “After several attempts asking for a legitimate contract and no answer we decided to quickly remove the other 2 performers from our promotion and made a statement on social.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(Friday’s headliner, Oakland favorite Mistah F.A.B., confirmed to KQED that he had received advance payment in full for his performance.)\u003c/p>\n\u003cp>San Francisco rapper TroyLLF, featured on Sunday’s bill, sent screenshots to KQED of his email correspondence with representatives from XO Fest. He was asked to perform for free. In an email from XO Fest’s Linda Rodriguez, he was told that his DJ would have to purchase his own ticket despite being part of the performance.\u003c/p>\n\u003cp>“To me it seems super sketchy and unprofessional,” said TroyLLF. “And like a money scheme.”\u003c/p>\n\u003cp>Asked by KQED about performers needing to purchase their own tickets, the unnamed XO Fest representative suggested that the DJ in question was not a “legitimate” part of TroyLLF’s performance. “Artists get passes for every legitimate performer,” they wrote. “When artists out of the blue request passes for people that are not DJs or performers they need to purchase tickets. It’s very clear who’s a band member and who’s not.”\u003c/p>\n\u003cfigure id=\"attachment_13836864\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13836864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png\" alt=\"In an email, XO Festival's Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-160x285.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-675x1200.png 675w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-240x427.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-375x667.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8186-1-520x925.png 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">In an email, XO Festival’s Linda Rodriguez told artist TroyLLF that his DJ would have to purchase a ticket despite being part of the show. \u003ccite>(TroyLLF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tony B. Conscious, an artist vendor, informed KQED that XO Fest organizers told him that vendors made $12,000 from festival booths last year, even though there was no festival in 2017.\u003c/p>\n\u003cp>“I’m f-cking living in my van trying to save me enough money to get me a Sprinter to get out of this situation,” he told KQED, “and they charged me $700 for this booth that I did not have.”\u003c/p>\n\u003cp>Tony B. Conscious informed KQED in the hours after the festival cancellation that he had gone to the Contra Costa Event Center and met with Habib, who refunded his money.\u003c/p>\n\u003cp>XO Fest originally promised seven stages, but scaled that number down to three stages in its advertising materials. But when KPIX \u003ca href=\"https://sanfrancisco.cbslocal.com/2018/07/10/xo-music-festival-artists-bay-area/\" target=\"_blank\" rel=\"noopener\">visited Contra Costa Event Park\u003c/a> on July 10, they saw no evidence of any set-up in progress—no crews, no trailers, just an empty field and uncollected garbage. The XO representative who returned KQED’s request for comment did not confirm whether or not set-up had begun, and ignored the question of whether the festival will begin at noon on Friday.\u003c/p>\n\u003cp>Now we know that will not be the case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15045892/elvis-costello\" target=\"_blank\" rel=\"noopener\">Elvis Costello\u003c/a> has canceled his remaining European tour dates through July 16 to recover from surgery of an “aggressive cancerous malignancy,” according to a \u003ca href=\"https://www.elviscostello.com/#!/news/297540\">statement\u003c/a> on his website.\u003c/p>\n\u003cp>The 63-year-old’s cancer was defeated six weeks ago after surgery, according to the statement, and Costello was “elated and relieved” the European tour would be able to continue. Last week Costello initially \u003ca href=\"https://www.elviscostello.com/#!/news/297522\" target=\"_blank\" rel=\"noopener\">canceled two dates \u003c/a>for medical reasons after “some surgery.”\u003c/p>\n\u003cp>At that time, the announcement did not specifically name the diagnosis, but in the new statement Costello suggests it was a cancer affecting primarily men: “Gentleman, do talk to your friends — you’ll find you are not alone — seek your doctor’s advice if you are in doubt.”\u003c/p>\n\u003cp>Costello was advised it would take three to four weeks to recover from the surgery. But the singer says, “it was impossible to judge how this advisory would line up with the demands on a traveling musician, playing 90-minute to 2-hour plus performances. I was almost fooled into thinking that normal service had been resumed.”\u003c/p>\n\u003cp>Six dates in the United Kingdom, Croatia, Austria, Norway and Sweden were canceled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Costello still has a \u003ca href=\"https://www.elviscostello.com/#!/news/297505\" target=\"_blank\" rel=\"noopener\">tour slated for November and December\u003c/a>, which will promote a new Elvis Costello & The Imposters’ album, which is planned for release in October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We will return at the soonest opportunity to play that music, and your favourite songs that still make sense to us all,” Costello says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elvis+Costello+Cancels+European+Tour+Dates+To+Recover+From+Cancer+Surgery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Costello still has a \u003ca href=\"https://www.elviscostello.com/#!/news/297505\" target=\"_blank\" rel=\"noopener\">tour slated for November and December\u003c/a>, which will promote a new Elvis Costello & The Imposters’ album, which is planned for release in October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We will return at the soonest opportunity to play that music, and your favourite songs that still make sense to us all,” Costello says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elvis+Costello+Cancels+European+Tour+Dates+To+Recover+From+Cancer+Surgery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the past several years, the \u003ca href=\"https://www.sfbotanicalgarden.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Botanical Garden\u003c/a> has come alive during the summer—and not just with blossoms from every corner of the planet.\u003c/p>\n\u003cp>At “\u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener\">Flower Piano\u003c/a>,” pianists of all talent levels and musical tastes happily plonk away on 12 pianos spread across the garden’s 55 acres. The event takes place this year July 5–16.\u003c/p>\n\u003cp>On weekend days, the garden’s main partner in the event, Sunset Piano, invites professional pianists and other musicians to share their art. (Sunset Piano, founded by artists Mauro ffortissimo and Dean Mermell, is the subject of the feature documentary \u003ca href=\"https://www.amazon.com/dp/B079FR7CPK/\" target=\"_blank\" rel=\"noopener\">\u003cem>Twelve Pianos\u003c/em>\u003c/a>. It tells the story of the artists’ work to bring pianos to unlikely locations, like the windy bluffs overlooking the California coast or San Francisco’s streets—and the Botanical Gardens for “Flower Piano.”)\u003c/p>\n\u003cp>At the special \u003ca href=\"https://www.eventbrite.com/e/nightgarden-piano-tickets-44802793361\" target=\"_blank\" rel=\"noopener\">NightGarden\u003c/a> program on July 12–14, pros including Sarah Cahill, Elektra Schmidt and Rob Reich take to pianos around the gardens for pop-up performances. Their repertoires feature classical pieces by Beethoven, Brahms, Chopin and Debussy; tributes to Duke Ellington and Meredith Monk; and contemporary genres like neo-soul and funk.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Flower Piano runs July 5–16 at the San Francisco Botanical Garden. Details \u003ca href=\"https://www.sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Moog, the legendary synthesizer designer and manufacturer based in North Carolina, is the latest American company to sound an alarm over increased operation costs.\u003c/p>\n\u003cp>The next round of tariffs \u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">on Chinese \u003c/a>\u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">products\u003c/a> are scheduled to kick in on Friday on about $34 billion worth of goods imported from China. In return, China said it will impose tariffs on $34 billion worth of U.S. products.\u003c/p>\n\u003cp>As a result, Moog has urged customers to contact North Carolina’s Republican lawmakers Reps. Mark Meadows and Patrick McHenry, and Sens. Richard Burr and Thom Tillis, in \u003ca href=\"https://us2.campaign-archive.com/?e=&u=66ca69d70dceab5be9897856d&id=a2684e1453\" target=\"_blank\" rel=\"noopener\">an email\u003c/a> to its customers. The company warned that the tariffs “will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.”\u003c/p>\n\u003cp>The company came up with a template letter to North Carolina’s officials that it is asking customers to sign and send. In the template letter, Moog explains that it tries to make its circuit boards with U.S. suppliers when possible, sometimes paying up to 30 percent more than what it would cost to buy the same circuit boards overseas. Yet, even when Moog buys from domestic suppliers, most of the raw components still come from China. That’s why Moog is warning it can’t avoid “this substantial cost increase.”\u003c/p>\n\u003cp>None of the four lawmakers responded to a request for comment on Moog’s letter. Moog says it’s not commenting further.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moog Music was founded in 1967 as R.A. Moog, Inc. by its namesake, Robert Moog, an inventor and engineer who became indelibly linked to the electronic music his steady output of hardware during the last half of the 20th century helped facilitate. Moog was always a tinkerer first, however: “Musicians always come up with stuff I couldn’t imagine, using my instruments,” he \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\" target=\"_blank\" rel=\"noopener\">once said\u003c/a>.\u003c/p>\n\u003cp>In 2002 — decades after founding, selling and departing his company, which subsequently went bankrupt and ceased operations \u003ca href=\"https://gearpatrol.com/2015/07/07/history-of-moog-music-synthesizers/\" target=\"_blank\" rel=\"noopener\">in 1993\u003c/a> — Robert Moog \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\">regained\u003c/a> the right to use his name, which he immediately did, renaming his Asheville, N.C.-based company, Big Briar. Moog died three years later.\u003c/p>\n\u003cp>Three years ago, its CEO, Mike Adams, announced that he was selling part of the company \u003ca href=\"https://www.nytimes.com/2015/06/11/arts/music/moog-music-gives-employees-more-control.html?_r=3\" target=\"_blank\" rel=\"noopener\">to its employees\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moog isn’t the only American company to be affected by recent changes in international trade. On June 25, the iconic American motorcycle manufacturer Harley-Davidson \u003ca href=\"https://www.npr.org/2018/06/25/623140949/casualty-of-trade-tensions-harley-davidson-shifting-more-production-overseas\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it was considering shifting some of its own production overseas in response to tariffs on American goods that the European Union is implementing, which are coming in response to the tariffs President Trump placed on European goods. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Moog+Says+Chinese+Tariffs+May+Force+A+Move+Overseas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moog, the legendary synthesizer designer and manufacturer based in North Carolina, is the latest American company to sound an alarm over increased operation costs.\u003c/p>\n\u003cp>The next round of tariffs \u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">on Chinese \u003c/a>\u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">products\u003c/a> are scheduled to kick in on Friday on about $34 billion worth of goods imported from China. In return, China said it will impose tariffs on $34 billion worth of U.S. products.\u003c/p>\n\u003cp>As a result, Moog has urged customers to contact North Carolina’s Republican lawmakers Reps. Mark Meadows and Patrick McHenry, and Sens. Richard Burr and Thom Tillis, in \u003ca href=\"https://us2.campaign-archive.com/?e=&u=66ca69d70dceab5be9897856d&id=a2684e1453\" target=\"_blank\" rel=\"noopener\">an email\u003c/a> to its customers. The company warned that the tariffs “will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.”\u003c/p>\n\u003cp>The company came up with a template letter to North Carolina’s officials that it is asking customers to sign and send. In the template letter, Moog explains that it tries to make its circuit boards with U.S. suppliers when possible, sometimes paying up to 30 percent more than what it would cost to buy the same circuit boards overseas. Yet, even when Moog buys from domestic suppliers, most of the raw components still come from China. That’s why Moog is warning it can’t avoid “this substantial cost increase.”\u003c/p>\n\u003cp>None of the four lawmakers responded to a request for comment on Moog’s letter. Moog says it’s not commenting further.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moog Music was founded in 1967 as R.A. Moog, Inc. by its namesake, Robert Moog, an inventor and engineer who became indelibly linked to the electronic music his steady output of hardware during the last half of the 20th century helped facilitate. Moog was always a tinkerer first, however: “Musicians always come up with stuff I couldn’t imagine, using my instruments,” he \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\" target=\"_blank\" rel=\"noopener\">once said\u003c/a>.\u003c/p>\n\u003cp>In 2002 — decades after founding, selling and departing his company, which subsequently went bankrupt and ceased operations \u003ca href=\"https://gearpatrol.com/2015/07/07/history-of-moog-music-synthesizers/\" target=\"_blank\" rel=\"noopener\">in 1993\u003c/a> — Robert Moog \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\">regained\u003c/a> the right to use his name, which he immediately did, renaming his Asheville, N.C.-based company, Big Briar. Moog died three years later.\u003c/p>\n\u003cp>Three years ago, its CEO, Mike Adams, announced that he was selling part of the company \u003ca href=\"https://www.nytimes.com/2015/06/11/arts/music/moog-music-gives-employees-more-control.html?_r=3\" target=\"_blank\" rel=\"noopener\">to its employees\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moog isn’t the only American company to be affected by recent changes in international trade. On June 25, the iconic American motorcycle manufacturer Harley-Davidson \u003ca href=\"https://www.npr.org/2018/06/25/623140949/casualty-of-trade-tensions-harley-davidson-shifting-more-production-overseas\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it was considering shifting some of its own production overseas in response to tariffs on American goods that the European Union is implementing, which are coming in response to the tariffs President Trump placed on European goods. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Moog+Says+Chinese+Tariffs+May+Force+A+Move+Overseas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar",
"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n",
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"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True | KQED",
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"headline": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16116923/richard-swift\" target=\"_blank\" rel=\"noopener\">Richard Swift\u003c/a>, a highly regarded producer and solo artist, died early Tuesday morning in Washington state. His death was confirmed by a manager, Adam Katz, but no cause of death was given. He was 41 years old.\u003c/p>\n\u003cp>A crowdfunding campaign was created last month on Swift’s behalf to help pay for treatment of a “life-threatening condition,” the details of which were not shared.\u003c/p>\n\u003cp>“We are thankful he burned as bright as he did,” a statement from Swift’s label, Secretly Canadian, reads, “and was as productive as he was, during his time with us. Swift belongs in the canon of urgent, raw American art — alongside his heroes like Walt Whitman, Bo Diddley, Captain Beefheart and Kerouac. Through his music, illustrations, photography and poetry, he created a complex, caustic and, more often than not, devastatingly funny personal language and mythology.”\u003c/p>\n\u003cp>Swift began self-releasing music in the early 2000s, first on his own, then\u003ca href=\"https://www.discogs.com/artist/434952-Richard-Swift\" target=\"_blank\" rel=\"noopener\"> through\u003c/a> smaller independent labels like Velvet Blue Music and Spunk Records. His work attracted the attention of Secretly Canadian Records, which released a compilation of his previous material, \u003cem>The Richard Swift Collection, Vol. 1\u003c/em>, in 2005. He went on to release three more solo albums for the label, \u003cem>Dressed Up for the Letdown (\u003c/em>2006), the double-EP \u003cem>Richard Swift As Onasis \u003c/em>(2008) and \u003cem>The Atlantic Ocean \u003c/em>(2009).\u003c/p>\n\u003cp>Besides working as both a collaborative and touring sideman for\u003ca href=\"https://www.npr.org/artists/14837976/the-shins\" target=\"_blank\" rel=\"noopener\"> The Shins\u003c/a>,\u003ca href=\"https://www.npr.org/artists/15193815/the-black-keys\" target=\"_blank\" rel=\"noopener\"> The Black Keys\u003c/a> and most recently, \u003ca href=\"https://www.npr.org/artists/412705517/the-arcs\" target=\"_blank\" rel=\"noopener\">The Arcs\u003c/a>, Swift was also an in-demand producer for a wide range of artists, most of whom recorded at his Cottage Grove, Ore., studio, National Freedom. They’ve included Kevin Morby, Foxygen, Damien Jurado and the well-received 2015 debut of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/03/09/591883223/guest-dj-nathaniel-rateliff-the-night-sweats-hop-across-an-eclectic-playlist\" target=\"_blank\" rel=\"noopener\">Nathaniel Rateliff & The Night Sweats\u003c/a>, among\u003ca href=\"https://www.allmusic.com/artist/richard-swift-mn0000126287/credits\" target=\"_blank\" rel=\"noopener\"> many others\u003c/a>. Swift’s projects always tended towards warm, but garage-indebted, textures influenced by classic recordings from Sly & The Family Stone and The Beatles. The Black Keys’ Dan Auberach confirmed Swift’s death on\u003ca href=\"https://www.instagram.com/p/BkxX-H3BkNl/?hl=en&taken-by=easyeyesound\" target=\"_blank\" rel=\"noopener\"> Instagram\u003c/a>, writing, “Today the world lost one of the most talented musicians I know. He’s now with his mom and sister. I will miss you my friend.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Raised in rural Minnesota before relocating to Oregon as a teenager, Swift eventually landed in Southern California in 2001, hoping to further his artistic ambitions. “I wanted to make my dreams come true down in L.A., and they did,” he \u003ca href=\"https://tapeop.com/interviews/120/richard-swift/\" target=\"_blank\" rel=\"noopener\">told \u003cem>Tape Op\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2017.\u003c/p>\n\u003cp>Swift leaves behind a wife, Shea, and three children.\u003c/p>\n\u003chr>\n\u003ch3>Select Richard Swift Productions\u003c/h3>\n\u003cul>\n\u003cli>Damien Jurado, \u003cem>Saint Bartlett\u003c/em> (2010)\u003c/li>\n\u003cli>The Mynabirds, \u003cem>What We Lose in the Fire We Gain in the Flood\u003c/em> (2010)\u003cem>\u003cbr>\u003c/em>\u003c/li>\n\u003cli>Laetitia Sadier, \u003cem>The Trip\u003c/em> (2010)\u003c/li>\n\u003cli>Foxygen, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em> (2013)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Nathaniel Rateliff & The Night Sweats\u003c/em> (2015)\u003c/li>\n\u003cli>Damien Jurado, \u003cem>Visions Of Us On The Land\u003c/em> (2016)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>A Little Something More From\u003c/em> (2016)\u003c/li>\n\u003cli>Valerie June, \u003cem>The Order Of Time\u003c/em> (2017)\u003c/li>\n\u003cli>The Shins, \u003cem>Heartworms\u003c/em> (2017)\u003c/li>\n\u003cli>Kevin Morby, \u003cem>City Music\u003c/em> (2017)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Tearing At The Seams\u003c/em> (2018)\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Updated \u003c/strong>2:56 p.m. ET, Jul. 3 with a statement from Secretly Canadian.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A3keKmXaZmCuPJ6hXIbyWak\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Richard+Swift%2C+Producer+Of+Indie+Stars+And+Solo+Artist%2C+Dies+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/16116923/richard-swift\" target=\"_blank\" rel=\"noopener\">Richard Swift\u003c/a>, a highly regarded producer and solo artist, died early Tuesday morning in Washington state. His death was confirmed by a manager, Adam Katz, but no cause of death was given. He was 41 years old.\u003c/p>\n\u003cp>A crowdfunding campaign was created last month on Swift’s behalf to help pay for treatment of a “life-threatening condition,” the details of which were not shared.\u003c/p>\n\u003cp>“We are thankful he burned as bright as he did,” a statement from Swift’s label, Secretly Canadian, reads, “and was as productive as he was, during his time with us. Swift belongs in the canon of urgent, raw American art — alongside his heroes like Walt Whitman, Bo Diddley, Captain Beefheart and Kerouac. Through his music, illustrations, photography and poetry, he created a complex, caustic and, more often than not, devastatingly funny personal language and mythology.”\u003c/p>\n\u003cp>Swift began self-releasing music in the early 2000s, first on his own, then\u003ca href=\"https://www.discogs.com/artist/434952-Richard-Swift\" target=\"_blank\" rel=\"noopener\"> through\u003c/a> smaller independent labels like Velvet Blue Music and Spunk Records. His work attracted the attention of Secretly Canadian Records, which released a compilation of his previous material, \u003cem>The Richard Swift Collection, Vol. 1\u003c/em>, in 2005. He went on to release three more solo albums for the label, \u003cem>Dressed Up for the Letdown (\u003c/em>2006), the double-EP \u003cem>Richard Swift As Onasis \u003c/em>(2008) and \u003cem>The Atlantic Ocean \u003c/em>(2009).\u003c/p>\n\u003cp>Besides working as both a collaborative and touring sideman for\u003ca href=\"https://www.npr.org/artists/14837976/the-shins\" target=\"_blank\" rel=\"noopener\"> The Shins\u003c/a>,\u003ca href=\"https://www.npr.org/artists/15193815/the-black-keys\" target=\"_blank\" rel=\"noopener\"> The Black Keys\u003c/a> and most recently, \u003ca href=\"https://www.npr.org/artists/412705517/the-arcs\" target=\"_blank\" rel=\"noopener\">The Arcs\u003c/a>, Swift was also an in-demand producer for a wide range of artists, most of whom recorded at his Cottage Grove, Ore., studio, National Freedom. They’ve included Kevin Morby, Foxygen, Damien Jurado and the well-received 2015 debut of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/03/09/591883223/guest-dj-nathaniel-rateliff-the-night-sweats-hop-across-an-eclectic-playlist\" target=\"_blank\" rel=\"noopener\">Nathaniel Rateliff & The Night Sweats\u003c/a>, among\u003ca href=\"https://www.allmusic.com/artist/richard-swift-mn0000126287/credits\" target=\"_blank\" rel=\"noopener\"> many others\u003c/a>. Swift’s projects always tended towards warm, but garage-indebted, textures influenced by classic recordings from Sly & The Family Stone and The Beatles. The Black Keys’ Dan Auberach confirmed Swift’s death on\u003ca href=\"https://www.instagram.com/p/BkxX-H3BkNl/?hl=en&taken-by=easyeyesound\" target=\"_blank\" rel=\"noopener\"> Instagram\u003c/a>, writing, “Today the world lost one of the most talented musicians I know. He’s now with his mom and sister. I will miss you my friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Raised in rural Minnesota before relocating to Oregon as a teenager, Swift eventually landed in Southern California in 2001, hoping to further his artistic ambitions. “I wanted to make my dreams come true down in L.A., and they did,” he \u003ca href=\"https://tapeop.com/interviews/120/richard-swift/\" target=\"_blank\" rel=\"noopener\">told \u003cem>Tape Op\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2017.\u003c/p>\n\u003cp>Swift leaves behind a wife, Shea, and three children.\u003c/p>\n\u003chr>\n\u003ch3>Select Richard Swift Productions\u003c/h3>\n\u003cul>\n\u003cli>Damien Jurado, \u003cem>Saint Bartlett\u003c/em> (2010)\u003c/li>\n\u003cli>The Mynabirds, \u003cem>What We Lose in the Fire We Gain in the Flood\u003c/em> (2010)\u003cem>\u003cbr>\u003c/em>\u003c/li>\n\u003cli>Laetitia Sadier, \u003cem>The Trip\u003c/em> (2010)\u003c/li>\n\u003cli>Foxygen, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em> (2013)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Nathaniel Rateliff & The Night Sweats\u003c/em> (2015)\u003c/li>\n\u003cli>Damien Jurado, \u003cem>Visions Of Us On The Land\u003c/em> (2016)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>A Little Something More From\u003c/em> (2016)\u003c/li>\n\u003cli>Valerie June, \u003cem>The Order Of Time\u003c/em> (2017)\u003c/li>\n\u003cli>The Shins, \u003cem>Heartworms\u003c/em> (2017)\u003c/li>\n\u003cli>Kevin Morby, \u003cem>City Music\u003c/em> (2017)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Tearing At The Seams\u003c/em> (2018)\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Updated \u003c/strong>2:56 p.m. ET, Jul. 3 with a statement from Secretly Canadian.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A3keKmXaZmCuPJ6hXIbyWak\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Richard+Swift%2C+Producer+Of+Indie+Stars+And+Solo+Artist%2C+Dies+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Orleans Pianist Henry Butler Dead at 69",
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"content": "\u003cp>Henry Butler, a pianist, singer and cornerstone of the New Orleans sound, died of cancer Monday morning in the Bronx, New York. His death was confirmed by his agent, Maurice Montoya. Butler was 69 years old.\u003c/p>\n\u003cp>Born Sept. 21, 1948 in New Orleans, La., Butler was a prime force in the city’s piano tradition — gifted with an exuberant touch and a keen, razor-sharp musicality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=30&v=cRMfiAjKcfQ\u003c/p>\n\u003cp>Blind since birth, Butler grew up in the city’s Calliope Projects, and taught himself piano by ear. He went on to study classical music at the Louisiana State School for the Blind, where he memorized scores written in Braille and at Southern University, he majored in voice and minored in piano. He also studied with such exemplars of New Orleans piano as Professor Longhair and James Booker. \u003c/p>\n\u003cp>Musically, Butler was the heir to his birth city’s vital piano tradition, and he passed that tradition along. He taught across the United States and developed a summer \u003ca href=\"https://itvs.org/films/musics-gonna-get-you-through\">camp\u003c/a> for visually impaired teenage musicians. That program was depicted in a documentary film that aired on PBS stations in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CI4qfIYKipA\u003c/p>\n\u003cp>Away from the piano, Butler was an enthusiastic photographer — shooting images of scenes described by friends — and pursued that passion for more than three decades, exhibiting his work around the world.\u003c/p>\n\u003cp>Butler’s piano and music collection, along with much of his other possessions, were ruined during Hurricane Katrina. He left his beloved city, and eventually resettled in Brooklyn. But home, in his heart and under his fingers, was always New Orleans.\u003c/p>\n\u003cp>Butler was diagnosed with advanced-stage cancer last year. All through his illness, however, he kept playing: This May and June, he performed in Beijing, Melbourne and New York, with tour dates scheduled in France and Vienna for later this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“His approach was, ‘I’m going to keep playing until this thing overtakes me,'” his agent, Maurice Montoya, tells NPR. “He was committed to the band, and to the music, and advocating for the art form. That’s who Henry is.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Orleans+Pianist+Henry+Butler+Dead+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Henry Butler, a pianist, singer and cornerstone of the New Orleans sound, died of cancer Monday morning in the Bronx, New York. His death was confirmed by his agent, Maurice Montoya. Butler was 69 years old.\u003c/p>\n\u003cp>Born Sept. 21, 1948 in New Orleans, La., Butler was a prime force in the city’s piano tradition — gifted with an exuberant touch and a keen, razor-sharp musicality.\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/cRMfiAjKcfQ'\n title='//www.youtube.com/embed/cRMfiAjKcfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blind since birth, Butler grew up in the city’s Calliope Projects, and taught himself piano by ear. He went on to study classical music at the Louisiana State School for the Blind, where he memorized scores written in Braille and at Southern University, he majored in voice and minored in piano. He also studied with such exemplars of New Orleans piano as Professor Longhair and James Booker. \u003c/p>\n\u003cp>Musically, Butler was the heir to his birth city’s vital piano tradition, and he passed that tradition along. He taught across the United States and developed a summer \u003ca href=\"https://itvs.org/films/musics-gonna-get-you-through\">camp\u003c/a> for visually impaired teenage musicians. That program was depicted in a documentary film that aired on PBS stations in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"rightnowish": {
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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