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"content": "\u003cp>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \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=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&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>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \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=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France's Right Wing",
"headTitle": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France’s Right Wing | KQED",
"content": "\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wfo-RIsACPw\u003c/p>\n\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \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=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \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/wfo-RIsACPw'\n title='//www.youtube.com/embed/wfo-RIsACPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \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=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Below, find a sample single from it, titled “London Is Burning” — a song that was reworked into the (better) Mescaleros’ song “Burning Streets (London Is Burning).”\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%3Aalbum%3A5ukiednezEKBpSK7Pt11AN\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Joe Strummer 001\u003cem> will be \u003c/em>\u003ca href=\"https://joestrummer.lnk.to/001\">\u003cem>released Sept. 28 on Ignition Records\u003c/em>\u003c/a>\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=Joe+Strummer%27s+Solo+Work+And+Archives+To+Get+Life-Spanning+Release&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/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below, find a sample single from it, titled “London Is Burning” — a song that was reworked into the (better) Mescaleros’ song “Burning Streets (London Is Burning).”\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%3Aalbum%3A5ukiednezEKBpSK7Pt11AN\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Joe Strummer 001\u003cem> will be \u003c/em>\u003ca href=\"https://joestrummer.lnk.to/001\">\u003cem>released Sept. 28 on Ignition Records\u003c/em>\u003c/a>\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=Joe+Strummer%27s+Solo+Work+And+Archives+To+Get+Life-Spanning+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco singer Dina Zarif has lived in uncertainty since January 2017, when Trump first announced his controversial travel ban.\u003c/p>\n\u003cp>Last year, as she prepared to go on an international tour with the puppet theater production \u003cem>Feathers of Fire\u003c/em>, the president’s executive order suddenly prohibited citizens of seven Muslim-majority countries from entering the United States, including those with visas. Green card holders like Zarif, who is originally from Iran, were detained at airports amid \u003ca href=\"https://www.cnn.com/2017/01/29/politics/donald-trump-travel-ban-green-card-dual-citizens/index.html\" target=\"_blank\" rel=\"noopener\">widespread confusion\u003c/a> about the ban. Days later, after the White House announced an exemption for permanent residents, Zarif went abroad and safely returned home to San Francisco after her tour.\u003c/p>\n\u003cp>“It was a really, really frustrating situation because we didn’t know. If I go out of the country, will I be able to come back to the country that I made my new home?” she says.\u003c/p>\n\u003cp>https://youtu.be/HASa-otmQRw\u003c/p>\n\u003cp>For Zarif, who had recently switched careers from architecture to music after a bout with cancer, going back to Iran was not an option. “The frustrating part is that I cannot sing as a solo singer in Iran because it’s forbidden by Islam,” she says, adding that the quality of life in her home country has significantly deteriorated in recent years \u003ca href=\"https://www.cnn.com/2018/06/27/politics/trump-travel-ban-countries-intl/index.html\" target=\"_blank\" rel=\"noopener\">as a result of U.S. sanctions\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As federal judges \u003ca href=\"https://www.aclu-wa.org/pages/timeline-muslim-ban\" target=\"_blank\" rel=\"noopener\">challenged Trump’s travel ban in court\u003c/a>, its fate remained uncertain. On June 26, Zarif was devastated to learn that the Supreme Court ruled in favor of upholding the executive order.\u003c/p>\n\u003cp>“We were all hopeful that it’s going to go another way, and we were not expecting the decision,” she says. “I applied for my parents’ green card. Their green card is ready here to pick up, but they cannot enter the country. Even with an immigrant visa. And my brother is getting rejected for a student visa. \u003ca href=\"https://www.reuters.com/article/us-usa-immigration-ban/us-issued-waivers-to-trumps-travel-ban-at-rate-of-2-percent-data-shows-idUSKBN1JN07T\" target=\"_blank\" rel=\"noopener\">Husbands, wives\u003c/a>—no one can come to the U.S.”\u003c/p>\n\u003cp>The news of the Supreme Court ruling came just days before Zarif’s concert, “\u003ca href=\"https://ybgfestival.org/event/music-of-the-banned/\" target=\"_blank\" rel=\"noopener\">Music of the Banned\u003c/a>,” taking place June 30 at the Yerba Buena Gardens Festival in San Francisco. The concert presents music from countries affected by the travel ban (which now includes five Muslim-majority countries, in addition to North Korea and Venezuela), and coincides with a \u003ca href=\"https://www.vogue.com/article/families-belong-together-march-june-30\" target=\"_blank\" rel=\"noopener\">nationwide day of action\u003c/a> against Trump’s immigration policies and family separation at the U.S.-Mexico border. (Saturday morning, protesters will march from Dolores Park to Civic Center, a stone’s throw from Yerba Buena Gardens, for a rally expected to draw thousands.)\u003c/p>\n\u003cp>It’s likely, Zarif hopes, that the rally will boost turnout for “Music of the Banned.” The goal of the free outdoor concert is to foster unity among the many immigrant groups affected, she says, as well as inspire empathy in native-born Americans with stereotypical views of Muslims and people from the affected countries as terrorists. (Although the White House cites national security as the reason for the ban, \u003ca href=\"https://www.vox.com/world/2018/4/20/17253328/terrorism-trump-immigration-study-vetting\" target=\"_blank\" rel=\"noopener\">only a single terrorist\u003c/a> who committed a deadly attack has slipped through the American immigration system since 9/11, according to a study from the Cato Institute; she was not from one of the countries listed in the ban.)\u003c/p>\n\u003cp>“If an American doesn’t know what’s going on and they think all the people from these banned countries are not good for our country, that’s what matters, the impact it’s putting on ordinary people’s lives,” says Zarif. “If we can present the music of these countries that are banned—these countries have rich, beautiful music—then people can see the actual faces of the people being impacted by the travel ban.”\u003c/p>\n\u003cp>https://youtu.be/FE-8nthTWds\u003c/p>\n\u003cp>“Music of the Banned” features the Dina Zarif Ensemble, a quintet that fuses Western classical and traditional Persian music. Guitarist Carlos Caminos leads a trio called Sounds of Venezuela; the Ayjal Quartet combines Iranian Kurdish and Arabic Syrian music; and the Salma El Assal and Sudan Ensemble performs contemporary and classical Sudanese music.\u003c/p>\n\u003cp>Zarif threw the first “Music of the Banned” concert last year at the Red Poppy Art House, a Mission district nonprofit where she serves as the program director. As anti-immigrant sentiment in the United States intensifies, she plans to program more “Music of the Banned” performances and workshops throughout the coming year.\u003c/p>\n\u003cp>“I think arts and music will bring power,” she says. “With our voices being heard, it’s a very direct way to impact people and touch people’s hearts.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“Music of the Banned” is free, taking place on Saturday, June 30, at the Yerba Buena Gardens Festival. Details \u003ca href=\"https://ybgfestival.org/event/music-of-the-banned/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco singer Dina Zarif has lived in uncertainty since January 2017, when Trump first announced his controversial travel ban.\u003c/p>\n\u003cp>Last year, as she prepared to go on an international tour with the puppet theater production \u003cem>Feathers of Fire\u003c/em>, the president’s executive order suddenly prohibited citizens of seven Muslim-majority countries from entering the United States, including those with visas. Green card holders like Zarif, who is originally from Iran, were detained at airports amid \u003ca href=\"https://www.cnn.com/2017/01/29/politics/donald-trump-travel-ban-green-card-dual-citizens/index.html\" target=\"_blank\" rel=\"noopener\">widespread confusion\u003c/a> about the ban. Days later, after the White House announced an exemption for permanent residents, Zarif went abroad and safely returned home to San Francisco after her tour.\u003c/p>\n\u003cp>“It was a really, really frustrating situation because we didn’t know. If I go out of the country, will I be able to come back to the country that I made my new home?” she says.\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/HASa-otmQRw'\n title='//www.youtube.com/embed/HASa-otmQRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Zarif, who had recently switched careers from architecture to music after a bout with cancer, going back to Iran was not an option. “The frustrating part is that I cannot sing as a solo singer in Iran because it’s forbidden by Islam,” she says, adding that the quality of life in her home country has significantly deteriorated in recent years \u003ca href=\"https://www.cnn.com/2018/06/27/politics/trump-travel-ban-countries-intl/index.html\" target=\"_blank\" rel=\"noopener\">as a result of U.S. sanctions\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As federal judges \u003ca href=\"https://www.aclu-wa.org/pages/timeline-muslim-ban\" target=\"_blank\" rel=\"noopener\">challenged Trump’s travel ban in court\u003c/a>, its fate remained uncertain. On June 26, Zarif was devastated to learn that the Supreme Court ruled in favor of upholding the executive order.\u003c/p>\n\u003cp>“We were all hopeful that it’s going to go another way, and we were not expecting the decision,” she says. “I applied for my parents’ green card. Their green card is ready here to pick up, but they cannot enter the country. Even with an immigrant visa. And my brother is getting rejected for a student visa. \u003ca href=\"https://www.reuters.com/article/us-usa-immigration-ban/us-issued-waivers-to-trumps-travel-ban-at-rate-of-2-percent-data-shows-idUSKBN1JN07T\" target=\"_blank\" rel=\"noopener\">Husbands, wives\u003c/a>—no one can come to the U.S.”\u003c/p>\n\u003cp>The news of the Supreme Court ruling came just days before Zarif’s concert, “\u003ca href=\"https://ybgfestival.org/event/music-of-the-banned/\" target=\"_blank\" rel=\"noopener\">Music of the Banned\u003c/a>,” taking place June 30 at the Yerba Buena Gardens Festival in San Francisco. The concert presents music from countries affected by the travel ban (which now includes five Muslim-majority countries, in addition to North Korea and Venezuela), and coincides with a \u003ca href=\"https://www.vogue.com/article/families-belong-together-march-june-30\" target=\"_blank\" rel=\"noopener\">nationwide day of action\u003c/a> against Trump’s immigration policies and family separation at the U.S.-Mexico border. (Saturday morning, protesters will march from Dolores Park to Civic Center, a stone’s throw from Yerba Buena Gardens, for a rally expected to draw thousands.)\u003c/p>\n\u003cp>It’s likely, Zarif hopes, that the rally will boost turnout for “Music of the Banned.” The goal of the free outdoor concert is to foster unity among the many immigrant groups affected, she says, as well as inspire empathy in native-born Americans with stereotypical views of Muslims and people from the affected countries as terrorists. (Although the White House cites national security as the reason for the ban, \u003ca href=\"https://www.vox.com/world/2018/4/20/17253328/terrorism-trump-immigration-study-vetting\" target=\"_blank\" rel=\"noopener\">only a single terrorist\u003c/a> who committed a deadly attack has slipped through the American immigration system since 9/11, according to a study from the Cato Institute; she was not from one of the countries listed in the ban.)\u003c/p>\n\u003cp>“If an American doesn’t know what’s going on and they think all the people from these banned countries are not good for our country, that’s what matters, the impact it’s putting on ordinary people’s lives,” says Zarif. “If we can present the music of these countries that are banned—these countries have rich, beautiful music—then people can see the actual faces of the people being impacted by the travel ban.”\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/FE-8nthTWds'\n title='//www.youtube.com/embed/FE-8nthTWds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Music of the Banned” features the Dina Zarif Ensemble, a quintet that fuses Western classical and traditional Persian music. Guitarist Carlos Caminos leads a trio called Sounds of Venezuela; the Ayjal Quartet combines Iranian Kurdish and Arabic Syrian music; and the Salma El Assal and Sudan Ensemble performs contemporary and classical Sudanese music.\u003c/p>\n\u003cp>Zarif threw the first “Music of the Banned” concert last year at the Red Poppy Art House, a Mission district nonprofit where she serves as the program director. As anti-immigrant sentiment in the United States intensifies, she plans to program more “Music of the Banned” performances and workshops throughout the coming year.\u003c/p>\n\u003cp>“I think arts and music will bring power,” she says. “With our voices being heard, it’s a very direct way to impact people and touch people’s hearts.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“Music of the Banned” is free, taking place on Saturday, June 30, at the Yerba Buena Gardens Festival. Details \u003ca href=\"https://ybgfestival.org/event/music-of-the-banned/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/623313792/623773912\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Jesse and Joy Huerta of the sibling duo \u003ca href=\"https://www.npr.org/sections/therecord/2012/11/16/165268816/jesse-joy-juanes-win-big-at-latin-grammys\" target=\"_blank\" rel=\"noopener\">Jesse & Joy\u003c/a> have been staples in Latin American pop circles for more than a decade. Jesse, with his trademark wide-brim fedoras and tattoos, plays guitar and piano. Joy brings the melodies and harmonic high notes.\u003c/p>\n\u003cp>While long-embracing their bicultural heritage, current tensions between the U.S. and Mexico over immigration have compelled the duo to plunge into the \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener\">debate over migrant families\u003c/a>. In making the video for the title track of the pair’s Grammy Award-winning album \u003ca href=\"https://itunes.apple.com/mx/album/un-besito-m%C3%A1s/1056387508\" target=\"_blank\" rel=\"noopener\">Un Besito Más\u003c/a>, Jesse says he and his sister dove deep into the plight of separated families. The song’s official video spotlights the struggle of a mother and father facing deportation and their decision to leave their U.S.-born daughter behind.\u003c/p>\n\u003cp>https://youtu.be/z1EB-fI0JDI\u003c/p>\n\u003cp>Jesse says speaking both languages and holding two passports gives them a unique place to speak out for those not as privileged. “Why are we so lucky and blessed enough that we can travel back and forth without exposing our lives?” he asks. “That just made us commit more to it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joy hopes their music can change hearts and minds. “I think it’s a matter of respect, and if we give people information enough just to respect one another, I think we can help,” she says.\u003c/p>\n\u003cp>The duo’s musical success has helped cement them as binational, bilingual advocates, a role Joy tearfully embraced during her acceptance speech at\u003ca href=\"https://www.youtube.com/watch?v=SCOuVniZlGM\"> last year’s Grammy Awards\u003c/a>.\u003c/p>\n\u003cp>“We are so proud to be Mexican-Americans, so this goes to all the Hispanics out there in this country,” Jesse said in the speech. “To every minority group: We are with you. We stand with you.”\u003c/p>\n\u003cp>Though the pair has made a wholesome foray into reggaeton — their remixed single “3 A.M.” with Cuba’s reggaeton duo \u003ca href=\"https://www.npr.org/2017/08/02/541133965/subeme-la-radio-is-cuba-s-heartbreak-anthem-of-the-summer\" target=\"_blank\" rel=\"noopener\">Gente de Zona\u003c/a> is a hit among fans — Jesse & Joy sometimes strike a chord reminiscent of 1970s brother-and-sister pop icons \u003ca href=\"https://www.npr.org/artists/15395475/donny-osmond\" target=\"_blank\" rel=\"noopener\">Donny and Marie Osmond\u003c/a>.\u003c/p>\n\u003cp>That simplicity, often an outlier in today’s music scene, is what 22-year-old fan Carla Hernandez Pedraza likes about Jesse & Joy.\u003c/p>\n\u003cp>“I love the way they are,” Pedraza says in Spanish. “They are just really down to Earth, lovely people.”\u003c/p>\n\u003cp>Church factored big in the roots of Jesse and Joy. They learned music by borrowing instruments from their father’s evangelical church. And while they started off writing and singing in Spanish, both languages got equal play in their recent hometown concert in Mexico City.\u003c/p>\n\u003cp>Their father is Mexican, their mother is from Wisconsin, and Joy says she had strict rules: “No Spanglish at home. She’s like, ‘No, no, no, just stick to one language.’ I guess she wanted us to really get both languages separately.”\u003c/p>\n\u003cp>Moving into English language albums would seem like a natural next step for the duo, but like many of their fellow Latin American artists, it’s a tough calculation.\u003c/p>\n\u003cp>“We want to, but we don’t want to lose our crowd, you know, our fan base” Joy says. “We don’t want them to hate us here,” Jesse adds.\u003c/p>\n\u003cp>While they haven’t committed to all-English just yet, Jesse & Joy released several English cuts, including the melodic “Echoes of Love.”\u003c/p>\n\u003cp>But Jesse & Joy shouldn’t worry about being labeled a sell-out act. Eighteen-year-old fan Fatima Garcia traveled six hours by bus to get to the Mexico City concert. She says she loves the positive image Jesse & Joy reflect of Mexico and Mexicans these days, especially in the U.S.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are all just so proud of them,” Garcia 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=Mexican-American+Duo+Jesse+%26+Joy+Advocate+For+Migrants+In+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/623313792/623773912\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Jesse and Joy Huerta of the sibling duo \u003ca href=\"https://www.npr.org/sections/therecord/2012/11/16/165268816/jesse-joy-juanes-win-big-at-latin-grammys\" target=\"_blank\" rel=\"noopener\">Jesse & Joy\u003c/a> have been staples in Latin American pop circles for more than a decade. Jesse, with his trademark wide-brim fedoras and tattoos, plays guitar and piano. Joy brings the melodies and harmonic high notes.\u003c/p>\n\u003cp>While long-embracing their bicultural heritage, current tensions between the U.S. and Mexico over immigration have compelled the duo to plunge into the \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener\">debate over migrant families\u003c/a>. In making the video for the title track of the pair’s Grammy Award-winning album \u003ca href=\"https://itunes.apple.com/mx/album/un-besito-m%C3%A1s/1056387508\" target=\"_blank\" rel=\"noopener\">Un Besito Más\u003c/a>, Jesse says he and his sister dove deep into the plight of separated families. The song’s official video spotlights the struggle of a mother and father facing deportation and their decision to leave their U.S.-born daughter behind.\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/z1EB-fI0JDI'\n title='//www.youtube.com/embed/z1EB-fI0JDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jesse says speaking both languages and holding two passports gives them a unique place to speak out for those not as privileged. “Why are we so lucky and blessed enough that we can travel back and forth without exposing our lives?” he asks. “That just made us commit more to it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joy hopes their music can change hearts and minds. “I think it’s a matter of respect, and if we give people information enough just to respect one another, I think we can help,” she says.\u003c/p>\n\u003cp>The duo’s musical success has helped cement them as binational, bilingual advocates, a role Joy tearfully embraced during her acceptance speech at\u003ca href=\"https://www.youtube.com/watch?v=SCOuVniZlGM\"> last year’s Grammy Awards\u003c/a>.\u003c/p>\n\u003cp>“We are so proud to be Mexican-Americans, so this goes to all the Hispanics out there in this country,” Jesse said in the speech. “To every minority group: We are with you. We stand with you.”\u003c/p>\n\u003cp>Though the pair has made a wholesome foray into reggaeton — their remixed single “3 A.M.” with Cuba’s reggaeton duo \u003ca href=\"https://www.npr.org/2017/08/02/541133965/subeme-la-radio-is-cuba-s-heartbreak-anthem-of-the-summer\" target=\"_blank\" rel=\"noopener\">Gente de Zona\u003c/a> is a hit among fans — Jesse & Joy sometimes strike a chord reminiscent of 1970s brother-and-sister pop icons \u003ca href=\"https://www.npr.org/artists/15395475/donny-osmond\" target=\"_blank\" rel=\"noopener\">Donny and Marie Osmond\u003c/a>.\u003c/p>\n\u003cp>That simplicity, often an outlier in today’s music scene, is what 22-year-old fan Carla Hernandez Pedraza likes about Jesse & Joy.\u003c/p>\n\u003cp>“I love the way they are,” Pedraza says in Spanish. “They are just really down to Earth, lovely people.”\u003c/p>\n\u003cp>Church factored big in the roots of Jesse and Joy. They learned music by borrowing instruments from their father’s evangelical church. And while they started off writing and singing in Spanish, both languages got equal play in their recent hometown concert in Mexico City.\u003c/p>\n\u003cp>Their father is Mexican, their mother is from Wisconsin, and Joy says she had strict rules: “No Spanglish at home. She’s like, ‘No, no, no, just stick to one language.’ I guess she wanted us to really get both languages separately.”\u003c/p>\n\u003cp>Moving into English language albums would seem like a natural next step for the duo, but like many of their fellow Latin American artists, it’s a tough calculation.\u003c/p>\n\u003cp>“We want to, but we don’t want to lose our crowd, you know, our fan base” Joy says. “We don’t want them to hate us here,” Jesse adds.\u003c/p>\n\u003cp>While they haven’t committed to all-English just yet, Jesse & Joy released several English cuts, including the melodic “Echoes of Love.”\u003c/p>\n\u003cp>But Jesse & Joy shouldn’t worry about being labeled a sell-out act. Eighteen-year-old fan Fatima Garcia traveled six hours by bus to get to the Mexico City concert. She says she loves the positive image Jesse & Joy reflect of Mexico and Mexicans these days, especially in the U.S.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are all just so proud of them,” Garcia 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=Mexican-American+Duo+Jesse+%26+Joy+Advocate+For+Migrants+In+The+U.S.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Homeless Cleared from Oakland's Mosswood Park Ahead of Burger Boogaloo",
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"headTitle": "Homeless Cleared from Oakland’s Mosswood Park Ahead of Burger Boogaloo | KQED",
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"content": "\u003cp>Oakland police officers cleared out homeless camps at Oakland’s Mosswood Park Tuesday, days before the popular punk festival Burger Boogaloo.\u003c/p>\n\u003cp>The sweep removed an estimated 20 people living in tents on the park grounds, according to Joe DeVries, assistant to the Oakland City Administrator. While the removal occurred just days before Burger Boogaloo, DeVries said that the city cleared the homeless in preparation for a program serving disabled youth. The program, which had been on hiatus since 2016 following a fire at the park’s recreation center, expects 150 participants next month.\u003c/p>\n\u003cp>Concerns over issues created by the encampment, such as the sizable amount of syringes littering the grounds, led to the city clearing the park, a decision DeVries said was announced four months ago.\u003c/p>\n\u003cp>“We can’t have 150 disabled students recreating in a park where we routinely collect hundreds of hypodermic needles,” DeVries \u003ca href=\"https://www.eastbaytimes.com/2018/06/26/homeless-cleared-out-of-north-oakland-park/\" rel=\"noopener\" target=\"_blank\">told the \u003cem>East Bay Times\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, news of the sweep \u003ca href=\"https://twitter.com/Indybay/status/1011699489332068356\" rel=\"noopener\" target=\"_blank\">spread on social media\u003c/a>, where \u003ca href=\"https://www.facebook.com/totaltrashproductions/\" rel=\"noopener\" target=\"_blank\">Burger Boogaloo promoters\u003c/a> came under \u003ca href=\"https://twitter.com/charmainesnames/status/1011821672775630854\" rel=\"noopener\" target=\"_blank\">criticism\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burger Boogaloo released an official statement Wednesday afternoon.\u003c/p>\n\u003cp>“Burger Boogaloo is pained by the ongoing homeless crisis in Oakland and everywhere,” it read. “As a consequence of events and programs planned at Mosswood Park, including our permitted event, people living there were asked to leave by Oakland Police. Prior to the Tuesday expulsion, Burger Boogaloo staff spent time assisting people in the park with the move.”\u003c/p>\n\u003cp>Burger Boogaloo also stated that it had donated to \u003ca href=\"http://apcollaborative.org/\" rel=\"noopener\" target=\"_blank\">Alameda Point Collaborative\u003c/a> and \u003ca href=\"http://www.homeaway.org/\" rel=\"noopener\" target=\"_blank\">A Home Away From Homelessness\u003c/a>, two homeless assistance organizations, adding that “we encourage our friends and anyone concerned about the plight of people here in our community to do the same.”\u003c/p>\n\u003cp>The festival further announced that the \u003ca href=\"http://homelessactioncenter.org/\" rel=\"noopener\" target=\"_blank\">Homeless Action Center\u003c/a> will have a presence at the two-day festival, with members collecting donations.\u003c/p>\n\u003cp>Calls to Boogaloo founder Marcos Ribak were not returned at press time.\u003c/p>\n\u003cp>Issues of homelessness have overlapped with the local music scene in recent weeks, with Jason Perkins of local venues the New Parish and Brick & Mortar Music Hall \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">caught on security video pepper-spraying a homeless man\u003c/a>. Some say Perkins also appears to have been behind flyers posted around the Brick & Mortar Music Hall which called for homeless people to clear out, and \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">threatened physical violence and burning\u003c/a> for those who did not. (A homeless benefit featuring Equipto, La Misa Negra and Mistah F.A.B. scheduled at the New Parish was \u003ca href=\"https://www.kqed.org/arts/13835668/with-latest-album-equipto-calls-out-housing-crisis-and-gentrification\" rel=\"noopener\" target=\"_blank\">moved to a different venue\u003c/a> in response.)\u003c/p>\n\u003cp>Aleksander Prechtl, friend of Ribak and singer for the band Battleship, who are scheduled to perform at the festival this weekend, told KQED that he was “confident” Boogaloo’s organizers “advocated the city on behalf of the homeless and would assist in minimizing the disruption to their lives.”\u003c/p>\n\u003cp>“I’ve known Marcos for many years and have no reason to think he’d be anything but kind and generous to everyone, especially the homeless,” Prechtl wrote in an email.\u003c/p>\n\u003cp>Prechtl opined that because the festival uses only half the park, an option might have been to move the encampment to another site in the park, but away from the festival. He added that it’s on the city to “treat the housing crisis as the emergency it is.”\u003c/p>\n\u003cp>“We should not allow homelessness to be ever seen as normal nor acceptable. We, as a society, need to treat housing and healthcare as the human rights that they are,” Prechtl wrote. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland police officers cleared out homeless camps at Oakland’s Mosswood Park Tuesday, days before the popular punk festival Burger Boogaloo.\u003c/p>\n\u003cp>The sweep removed an estimated 20 people living in tents on the park grounds, according to Joe DeVries, assistant to the Oakland City Administrator. While the removal occurred just days before Burger Boogaloo, DeVries said that the city cleared the homeless in preparation for a program serving disabled youth. The program, which had been on hiatus since 2016 following a fire at the park’s recreation center, expects 150 participants next month.\u003c/p>\n\u003cp>Concerns over issues created by the encampment, such as the sizable amount of syringes littering the grounds, led to the city clearing the park, a decision DeVries said was announced four months ago.\u003c/p>\n\u003cp>“We can’t have 150 disabled students recreating in a park where we routinely collect hundreds of hypodermic needles,” DeVries \u003ca href=\"https://www.eastbaytimes.com/2018/06/26/homeless-cleared-out-of-north-oakland-park/\" rel=\"noopener\" target=\"_blank\">told the \u003cem>East Bay Times\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, news of the sweep \u003ca href=\"https://twitter.com/Indybay/status/1011699489332068356\" rel=\"noopener\" target=\"_blank\">spread on social media\u003c/a>, where \u003ca href=\"https://www.facebook.com/totaltrashproductions/\" rel=\"noopener\" target=\"_blank\">Burger Boogaloo promoters\u003c/a> came under \u003ca href=\"https://twitter.com/charmainesnames/status/1011821672775630854\" rel=\"noopener\" target=\"_blank\">criticism\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burger Boogaloo released an official statement Wednesday afternoon.\u003c/p>\n\u003cp>“Burger Boogaloo is pained by the ongoing homeless crisis in Oakland and everywhere,” it read. “As a consequence of events and programs planned at Mosswood Park, including our permitted event, people living there were asked to leave by Oakland Police. Prior to the Tuesday expulsion, Burger Boogaloo staff spent time assisting people in the park with the move.”\u003c/p>\n\u003cp>Burger Boogaloo also stated that it had donated to \u003ca href=\"http://apcollaborative.org/\" rel=\"noopener\" target=\"_blank\">Alameda Point Collaborative\u003c/a> and \u003ca href=\"http://www.homeaway.org/\" rel=\"noopener\" target=\"_blank\">A Home Away From Homelessness\u003c/a>, two homeless assistance organizations, adding that “we encourage our friends and anyone concerned about the plight of people here in our community to do the same.”\u003c/p>\n\u003cp>The festival further announced that the \u003ca href=\"http://homelessactioncenter.org/\" rel=\"noopener\" target=\"_blank\">Homeless Action Center\u003c/a> will have a presence at the two-day festival, with members collecting donations.\u003c/p>\n\u003cp>Calls to Boogaloo founder Marcos Ribak were not returned at press time.\u003c/p>\n\u003cp>Issues of homelessness have overlapped with the local music scene in recent weeks, with Jason Perkins of local venues the New Parish and Brick & Mortar Music Hall \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">caught on security video pepper-spraying a homeless man\u003c/a>. Some say Perkins also appears to have been behind flyers posted around the Brick & Mortar Music Hall which called for homeless people to clear out, and \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">threatened physical violence and burning\u003c/a> for those who did not. (A homeless benefit featuring Equipto, La Misa Negra and Mistah F.A.B. scheduled at the New Parish was \u003ca href=\"https://www.kqed.org/arts/13835668/with-latest-album-equipto-calls-out-housing-crisis-and-gentrification\" rel=\"noopener\" target=\"_blank\">moved to a different venue\u003c/a> in response.)\u003c/p>\n\u003cp>Aleksander Prechtl, friend of Ribak and singer for the band Battleship, who are scheduled to perform at the festival this weekend, told KQED that he was “confident” Boogaloo’s organizers “advocated the city on behalf of the homeless and would assist in minimizing the disruption to their lives.”\u003c/p>\n\u003cp>“I’ve known Marcos for many years and have no reason to think he’d be anything but kind and generous to everyone, especially the homeless,” Prechtl wrote in an email.\u003c/p>\n\u003cp>Prechtl opined that because the festival uses only half the park, an option might have been to move the encampment to another site in the park, but away from the festival. He added that it’s on the city to “treat the housing crisis as the emergency it is.”\u003c/p>\n\u003cp>“We should not allow homelessness to be ever seen as normal nor acceptable. We, as a society, need to treat housing and healthcare as the human rights that they are,” Prechtl wrote. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tiffany Austin's Soul-Steeped Jazz Celebrates Black Resilience",
"headTitle": "Tiffany Austin’s Soul-Steeped Jazz Celebrates Black Resilience | KQED",
"content": "\u003cp>Redolent of church pews and juke joints, protest rallies and swanky night clubs, \u003ca href=\"https://www.tiffanyaustin.com\">Tiffany Austin’s\u003c/a> voice situates her firmly within the expansive embrace of African-American culture and musical tradition. But as a jazz singer coming up in the Bay Area scene, she sometimes finds herself pushing back against traditionalists who think that she should divest her sound of its soul-steeped DNA—that her melismatic flourishes don’t belong in jazz settings.\u003c/p>\n\u003cp>Austin was just starting to study jazz vocals as a creative outlet while pursuing a degree from the UC Berkeley School of Law in 2009 when she first felt shade from some of her teachers about “unsophisticated R&B singers,” she recalls. “I was told ‘You’re not feeling the music,’ and there was all this anti-soul, anti-blues stuff in the air.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yzecHwPAOU\u003c/p>\n\u003cp>She answered that critique with her star-making 2015 debut album \u003ca href=\"https://www.amazon.com/Nothing-But-Soul-Tiffany-Austin/dp/B0124KY0R2\">\u003cem>Nothing But Soul\u003c/em>\u003c/a>, which earned rapturous reviews in both jazz-centric publications (\u003cem>Downbeat\u003c/em>) and wide-focus cultural outlets (\u003ca href=\"https://www.npr.org/2015/08/28/435520724/jazz-vocalist-issues-a-convincing-calling-card-with-nothing-but-soul\">NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>With the curdling political climate around the 2016 presidential election, Austin decided she needed to make a larger statement to counter an environment that increasingly seemed to denigrate, erase, distort or appropriate black expression. Rather than bringing a laser focus to the jazz tradition, she refracted a rainbow of African-American music with her June album, \u003ca href=\"https://www.amazon.com/Unbroken-Tiffany-Austin/dp/B07CCFZFRV\">\u003cem>Unbroken\u003c/em>\u003c/a>, a project blazing with blues, swing, bebop, spirituals, R&B and her own Louisiana Creole heritage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to present the idea that the African-American spirit remains unbroken—that with all the things we go through, we’re still here, creating joyfully, creating great art and great music,” says Austin, who plays her first Bay Area album release date on June 29 at the \u003ca href=\"https://stanfordjazz.org/more-info/tiffany-austin-septet/\">Stanford Jazz Festival\u003c/a> with her septet. The ensemble features tenor \u003ca href=\"https://www.teodrossavery.com\">saxophonist Teodross Avery\u003c/a>, a young-lion star of the 1990s who’s returned to playing full time after earning a PhD in jazz studies from the University of Southern California.\u003c/p>\n\u003cp>The album release celebration moves to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/tiffany-austin-septet-feat-special-guest-carl-allen-unbroken-album-release-concert/\">Kuumbwa Jazz Center\u003c/a> on July 5 and the \u003ca href=\"https://www.sfjazz.org/tickets/productions/tiffany-austin/\">SFJazz Center\u003c/a> on Aug. 11, when \u003cem>Unbroken\u003c/em> co-producer, arranger and trombonist Mitch Butler and New York drum maestro Carl Allen join Austin on stage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SX2kHTosLAg\u003c/p>\n\u003cp>Co-produced by Grammy winner Richard Seidel, \u003cem>Unbroken\u003c/em> opens with two Austin originals that speak to how violent suppression of black accomplishment can lead to emotional scars. Her song “Blues Creole” distills the murky story of pioneering Louisiana Creole accordionist-vocalist Amédé Ardoin, who was allegedly killed in 1942 for interacting with a white woman at a dance. The disquieting and outraged “Greenwood” connects Watts and Ferguson to the infamous 1921 pogrom that wiped out Tulsa, Oklahoma’s prosperous “\u003ca href=\"https://www.ebony.com/black-history/the-destruction-of-black-wall-street-405\" target=\"_blank\" rel=\"noopener\">Black Wall Street\u003c/a>” neighborhood.\u003c/p>\n\u003cp>Austin’s songs are impressive works fully brought to life by her superlative accompanists, a band built on a sleek and high-octane rhythm section with pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen. Allen says he’s relished delving into Austin’s repertoire, which extends far beyond American Songbook standards.\u003c/p>\n\u003cp>“She’s a real musician. She’s soulful and she’s got a concept that’s very cool and courageous,” says Allen. “And I was wonderfully surprised by how much studying she had done, not only the music she wanted to present, but where it was coming from and the roots.”\u003c/p>\n\u003cp>Righteous anger is only one hue in Austin’s vivid emotional palette. Putting a personal stamp on the jazz canon, she turns Ornette Coleman’s early free-bop invocation “The Blessing” into an ode to gratitude. She evokes the ineffable divine spirit with her wordless vocals on Coltrane’s “Resolution” from \u003cem>A Love Supreme\u003c/em>. She often talks about her music as “freedom songs,” a trope that manifests in all its glory with a striking version of Donny Hathaway’s “Someday We’ll All Be Free.”\u003c/p>\n\u003cp>Another high point is Austin’s galvanizing duet with Whitaker on the civil rights anthem “Keep Your Eyes On the Prize.” But no piece better encapsulates her seamless tapestry of the sacred and secular than her rendition of the folk/gospel classic “Ain’t No Grave,” which ascends to a sanctified, pew-shaking scat solo.\u003c/p>\n\u003cp>“That’s the album’s centerpiece for me,” says Austin, who sees her music as honoring the struggles that made her path possible. “I can’t even think about what folks went through, brought here under the worst conditions and facing continued discrimination. And I’m standing here with a law degree and can say today, ‘I’m going to write a song.’ That’s a testament to how powerful the spirits of the ancestors are.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nqqc1N7jIpI\u003c/p>\n\u003cp>In many ways, a brilliant cadre of black artists Austin connected with after moving to the Bay Area shaped her musical vision. A Los Angeles native from a musically inclined family (her older brother John Austin IV is the popular underground rapper Ras Kass), Austin spent several years singing R&B and soul in Japan before the UC Berkeley School of Law made her a scholarship offer she couldn’t refuse.\u003c/p>\n\u003cp>After the grueling first year of law school, feeling bereft without music in her life, she sought out opportunities to perform and quickly came into the orbit of \u003ca href=\"https://www.marcusshelby.com\">bassist Marcus Shelby\u003c/a>, a composer and bandleader with a deep catalog of ambitious projects exploring various facets of African-American history, culture and politics. Through Shelby, she connected with\u003ca href=\"https://www.mercurynews.com/2018/05/16/howard-wiley-brings-soulful-sax-sound-tro-malcolm-x-fest-in-oakland/\"> saxophonist Howard Wiley\u003c/a>, another deeply rooted artist whose music encompasses Saturday night revelry and Sunday morning worship.\u003c/p>\n\u003cp>Wiley played a crucial role shepherding Austin’s debut album \u003cem>Nothing But Soul\u003c/em>, a project focusing on the songs of pianist and composer Hoagy Carmichael. In looking to develop her own approach to the tradition, Austin also gained invaluable insight watching veteran vocal masters \u003ca href=\"https://www.fayecarol.com\">Faye Carol\u003c/a> (who mentored both Shelby and Wiley) and \u003ca href=\"https://www.kennywashingtonvocalist.com\">Kenny Washington\u003c/a>, whom many peers consider the world’s finest male jazz singer.\u003c/p>\n\u003cp>“Their styles are so different, but what they bring is a real connection to the history and culture of the music,” Austin says. “I remember the first time I saw Faye Carol, I was so inspired by the joy that she brings when she sings. She brings you to your knees and to your feet, all at the same time.”\u003c/p>\n\u003cp>From Washington she gleaned a similar kind of authority, the “kind of feeling you get in church, but people aren’t scatting in church, at least not the church I go to,” Austin says. “Kenny just puts his heart out there. He’s such a musical being, you can’t take your eyes off of him.”\u003c/p>\n\u003cp>Absorbing lessons from the Bay Area’s best, Austin is becoming a national figure in her own right: an artist with a musical message as topical as an unsettling headline and as timeless as an Ella Fitzgerald ballad.\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>The Tiffany Austin Septet perform at the Stanford Jazz Festival on June 29. \u003ca href=\"https://stanfordjazz.org/stanford-jazz-festival-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Redolent of church pews and juke joints, protest rallies and swanky night clubs, \u003ca href=\"https://www.tiffanyaustin.com\">Tiffany Austin’s\u003c/a> voice situates her firmly within the expansive embrace of African-American culture and musical tradition. But as a jazz singer coming up in the Bay Area scene, she sometimes finds herself pushing back against traditionalists who think that she should divest her sound of its soul-steeped DNA—that her melismatic flourishes don’t belong in jazz settings.\u003c/p>\n\u003cp>Austin was just starting to study jazz vocals as a creative outlet while pursuing a degree from the UC Berkeley School of Law in 2009 when she first felt shade from some of her teachers about “unsophisticated R&B singers,” she recalls. “I was told ‘You’re not feeling the music,’ and there was all this anti-soul, anti-blues stuff in the air.”\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/_yzecHwPAOU'\n title='//www.youtube.com/embed/_yzecHwPAOU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She answered that critique with her star-making 2015 debut album \u003ca href=\"https://www.amazon.com/Nothing-But-Soul-Tiffany-Austin/dp/B0124KY0R2\">\u003cem>Nothing But Soul\u003c/em>\u003c/a>, which earned rapturous reviews in both jazz-centric publications (\u003cem>Downbeat\u003c/em>) and wide-focus cultural outlets (\u003ca href=\"https://www.npr.org/2015/08/28/435520724/jazz-vocalist-issues-a-convincing-calling-card-with-nothing-but-soul\">NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>With the curdling political climate around the 2016 presidential election, Austin decided she needed to make a larger statement to counter an environment that increasingly seemed to denigrate, erase, distort or appropriate black expression. Rather than bringing a laser focus to the jazz tradition, she refracted a rainbow of African-American music with her June album, \u003ca href=\"https://www.amazon.com/Unbroken-Tiffany-Austin/dp/B07CCFZFRV\">\u003cem>Unbroken\u003c/em>\u003c/a>, a project blazing with blues, swing, bebop, spirituals, R&B and her own Louisiana Creole heritage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to present the idea that the African-American spirit remains unbroken—that with all the things we go through, we’re still here, creating joyfully, creating great art and great music,” says Austin, who plays her first Bay Area album release date on June 29 at the \u003ca href=\"https://stanfordjazz.org/more-info/tiffany-austin-septet/\">Stanford Jazz Festival\u003c/a> with her septet. The ensemble features tenor \u003ca href=\"https://www.teodrossavery.com\">saxophonist Teodross Avery\u003c/a>, a young-lion star of the 1990s who’s returned to playing full time after earning a PhD in jazz studies from the University of Southern California.\u003c/p>\n\u003cp>The album release celebration moves to Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/tiffany-austin-septet-feat-special-guest-carl-allen-unbroken-album-release-concert/\">Kuumbwa Jazz Center\u003c/a> on July 5 and the \u003ca href=\"https://www.sfjazz.org/tickets/productions/tiffany-austin/\">SFJazz Center\u003c/a> on Aug. 11, when \u003cem>Unbroken\u003c/em> co-producer, arranger and trombonist Mitch Butler and New York drum maestro Carl Allen join Austin on stage.\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/SX2kHTosLAg'\n title='//www.youtube.com/embed/SX2kHTosLAg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Co-produced by Grammy winner Richard Seidel, \u003cem>Unbroken\u003c/em> opens with two Austin originals that speak to how violent suppression of black accomplishment can lead to emotional scars. Her song “Blues Creole” distills the murky story of pioneering Louisiana Creole accordionist-vocalist Amédé Ardoin, who was allegedly killed in 1942 for interacting with a white woman at a dance. The disquieting and outraged “Greenwood” connects Watts and Ferguson to the infamous 1921 pogrom that wiped out Tulsa, Oklahoma’s prosperous “\u003ca href=\"https://www.ebony.com/black-history/the-destruction-of-black-wall-street-405\" target=\"_blank\" rel=\"noopener\">Black Wall Street\u003c/a>” neighborhood.\u003c/p>\n\u003cp>Austin’s songs are impressive works fully brought to life by her superlative accompanists, a band built on a sleek and high-octane rhythm section with pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen. Allen says he’s relished delving into Austin’s repertoire, which extends far beyond American Songbook standards.\u003c/p>\n\u003cp>“She’s a real musician. She’s soulful and she’s got a concept that’s very cool and courageous,” says Allen. “And I was wonderfully surprised by how much studying she had done, not only the music she wanted to present, but where it was coming from and the roots.”\u003c/p>\n\u003cp>Righteous anger is only one hue in Austin’s vivid emotional palette. Putting a personal stamp on the jazz canon, she turns Ornette Coleman’s early free-bop invocation “The Blessing” into an ode to gratitude. She evokes the ineffable divine spirit with her wordless vocals on Coltrane’s “Resolution” from \u003cem>A Love Supreme\u003c/em>. She often talks about her music as “freedom songs,” a trope that manifests in all its glory with a striking version of Donny Hathaway’s “Someday We’ll All Be Free.”\u003c/p>\n\u003cp>Another high point is Austin’s galvanizing duet with Whitaker on the civil rights anthem “Keep Your Eyes On the Prize.” But no piece better encapsulates her seamless tapestry of the sacred and secular than her rendition of the folk/gospel classic “Ain’t No Grave,” which ascends to a sanctified, pew-shaking scat solo.\u003c/p>\n\u003cp>“That’s the album’s centerpiece for me,” says Austin, who sees her music as honoring the struggles that made her path possible. “I can’t even think about what folks went through, brought here under the worst conditions and facing continued discrimination. And I’m standing here with a law degree and can say today, ‘I’m going to write a song.’ That’s a testament to how powerful the spirits of the ancestors are.”\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/nqqc1N7jIpI'\n title='//www.youtube.com/embed/nqqc1N7jIpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In many ways, a brilliant cadre of black artists Austin connected with after moving to the Bay Area shaped her musical vision. A Los Angeles native from a musically inclined family (her older brother John Austin IV is the popular underground rapper Ras Kass), Austin spent several years singing R&B and soul in Japan before the UC Berkeley School of Law made her a scholarship offer she couldn’t refuse.\u003c/p>\n\u003cp>After the grueling first year of law school, feeling bereft without music in her life, she sought out opportunities to perform and quickly came into the orbit of \u003ca href=\"https://www.marcusshelby.com\">bassist Marcus Shelby\u003c/a>, a composer and bandleader with a deep catalog of ambitious projects exploring various facets of African-American history, culture and politics. Through Shelby, she connected with\u003ca href=\"https://www.mercurynews.com/2018/05/16/howard-wiley-brings-soulful-sax-sound-tro-malcolm-x-fest-in-oakland/\"> saxophonist Howard Wiley\u003c/a>, another deeply rooted artist whose music encompasses Saturday night revelry and Sunday morning worship.\u003c/p>\n\u003cp>Wiley played a crucial role shepherding Austin’s debut album \u003cem>Nothing But Soul\u003c/em>, a project focusing on the songs of pianist and composer Hoagy Carmichael. In looking to develop her own approach to the tradition, Austin also gained invaluable insight watching veteran vocal masters \u003ca href=\"https://www.fayecarol.com\">Faye Carol\u003c/a> (who mentored both Shelby and Wiley) and \u003ca href=\"https://www.kennywashingtonvocalist.com\">Kenny Washington\u003c/a>, whom many peers consider the world’s finest male jazz singer.\u003c/p>\n\u003cp>“Their styles are so different, but what they bring is a real connection to the history and culture of the music,” Austin says. “I remember the first time I saw Faye Carol, I was so inspired by the joy that she brings when she sings. She brings you to your knees and to your feet, all at the same time.”\u003c/p>\n\u003cp>From Washington she gleaned a similar kind of authority, the “kind of feeling you get in church, but people aren’t scatting in church, at least not the church I go to,” Austin says. “Kenny just puts his heart out there. He’s such a musical being, you can’t take your eyes off of him.”\u003c/p>\n\u003cp>Absorbing lessons from the Bay Area’s best, Austin is becoming a national figure in her own right: an artist with a musical message as topical as an unsettling headline and as timeless as an Ella Fitzgerald ballad.\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": "\u003cp>Joe Jackson, patriarch of the legendary Jackson family, which included Michael and Janet Jackson, has died, the estate of Michael has confirmed in a statement. No cause of death was given, though he had reportedly been diagnosed with cancer.\u003c/p>\n\u003cp>Officially, Joe Jackson was a band manager, taking five of his sons from a locally celebrated pop vocal group in Gary, Ind., in the mid-1960s to international acclaim, acting as the launchpad to superstardom for his son Michael. Their paths, however, would be revealed through the decades as ones paved in checkers.\u003c/p>\n\u003cp>Joe Jackson, \u003ca href=\"https://www.jwjackson.com/about-joejackson/\" target=\"_blank\" rel=\"noopener\">born\u003c/a> in Alabama on July 26, 1928, was the eldest of six children of Samuel and Chrystal Jackson. Jackson’s parents separated in 1942, leaving Joe to travel between his father in Oakland, Calif. and his mother in East Chicago, Ind., before settling in the latter.\u003c/p>\n\u003cp>In his early 20s, while moonlighting in a blues band with his brother Luther, Joe met Katherine Scruse, whom he would marry in November 1949. (It would be his second, following a brief marriage that was annulled.) Rebbie Jackson — the first of their 10 children — was born in 1950; Jackie in 1951; Tito in 1953; Jermaine in 1954; La Toya in 1956; Marlon in 1957; Brandon in 1957; Michael in 1958; Randy in 1961; and Janet in 1966.\u003c/p>\n\u003cp>In the early 1960s, Jackson was working in a steel mill when he formed — or regimented, with regular daily practice scheduled by the tempestuous family head — a band sourced from his five sons: Jermaine, Jackie, Marlon, Tito and the youngest, Michael, as its charismatic lead singer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Through performances at local malls and talent shows, the group quickly cultivated a sterling local reputation, eventually taking top prize in a contest at the Apollo Theater in New York in 1967, when Michael was 9 years old. After auditioning in July 1968, The Jackson 5 was signed to Berry Gordy’s legendary Motown Records in March 1969. The group released its first single, “I Want You Back,” that October, \u003ca href=\"https://www.billboard.com/music/the-jacksons/chart-history/hot-100/song/581782\" target=\"_blank\" rel=\"noopener\">becoming\u003c/a> its first No. 1 hit the following January. The group’s first album, \u003cem>Diana Ross Presents The Jackson 5,\u003c/em> would tally an astounding 10 million sales over just 10 months; the following April, the Jackson 5’s classic “ABC” would dethrone The Beatles’ “Let It Be” from the top of the singles chart.\u003c/p>\n\u003cp>Later in life, however — after “Jackson Mania” and Saturday morning cartoons, solo careers and meet-and-greets with the Queen of England — a darker public picture of the Jackson family’s internal life was slowly revealed.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=BbItFJJPPmA\" target=\"_blank\" rel=\"noopener\">interview with Oprah Winfrey\u003c/a> in 1993, Michael Jackson revealed that the drive behind his and his brothers’ early success was a harsh regime enforced by Joe, bordering on physical and mental abuse.\u003c/p>\n\u003cp>Joe Jackson and some of the other Jackson siblings denied those allegations, describing the treatment as in line with the stern discipline practices of the day.\u003c/p>\n\u003cp>“There was a lot of love in that little house,” Jackie Jackson, the eldest brother, is quoted as saying in \u003cem>The Jacksons: Legacy\u003c/em>. “My mother was the sweetest woman you could ever meet. … My father was the one who cracked the whip.”\u003c/p>\n\u003cp>In a 2007 interview with \u003cem>The Chicago Defender,\u003c/em> Joe Jackson explained that his form of discipline was not unlike any other black family of the era. “Yeah, I whipped my kids and back then there was nothing wrong with that,” he said. “Nowadays people want to call the police on you. The people complaining about what I did got whippings from their parents too.”\u003c/p>\n\u003cp>Despite the internal tensions the allegations caused within the family, Jackson was seen holding his son’s hand as they walked into the Santa Barbara County Superior Court, before Michael’s 2005 trial on charges of child molestation, and never wavered in maintaining his son’s innocence.\u003c/p>\n\u003cp>In fact, Jackson acknowledged Michael did not exactly have the most idyllic of childhoods, saying it may have influenced the public’s perception of The King of Pop. As he \u003ca href=\"https://www.cnn.com/2013/01/30/showbiz/joe-jackson-pmt/index.html\">told CNN\u003c/a> in 2013: “Well … Michael was a big old kid himself. He was still — had the mind of a kid. But he loved kids so much. And the things that he didn’t have, he tried to help them to have it.”\u003c/p>\n\u003cp>When questioned about any regrets in that CNN interview, Jackson replied: “Well, I’m glad I was tough, because look what I came out with. I came out with some kids that everybody loved all over the world. And they treated everybody right.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\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=Joe+Jackson%2C+Strict+Manager+And+Father+To+Pop+Royalty%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Jackson, patriarch of the legendary Jackson family, which included Michael and Janet Jackson, has died, the estate of Michael has confirmed in a statement. No cause of death was given, though he had reportedly been diagnosed with cancer.\u003c/p>\n\u003cp>Officially, Joe Jackson was a band manager, taking five of his sons from a locally celebrated pop vocal group in Gary, Ind., in the mid-1960s to international acclaim, acting as the launchpad to superstardom for his son Michael. Their paths, however, would be revealed through the decades as ones paved in checkers.\u003c/p>\n\u003cp>Joe Jackson, \u003ca href=\"https://www.jwjackson.com/about-joejackson/\" target=\"_blank\" rel=\"noopener\">born\u003c/a> in Alabama on July 26, 1928, was the eldest of six children of Samuel and Chrystal Jackson. Jackson’s parents separated in 1942, leaving Joe to travel between his father in Oakland, Calif. and his mother in East Chicago, Ind., before settling in the latter.\u003c/p>\n\u003cp>In his early 20s, while moonlighting in a blues band with his brother Luther, Joe met Katherine Scruse, whom he would marry in November 1949. (It would be his second, following a brief marriage that was annulled.) Rebbie Jackson — the first of their 10 children — was born in 1950; Jackie in 1951; Tito in 1953; Jermaine in 1954; La Toya in 1956; Marlon in 1957; Brandon in 1957; Michael in 1958; Randy in 1961; and Janet in 1966.\u003c/p>\n\u003cp>In the early 1960s, Jackson was working in a steel mill when he formed — or regimented, with regular daily practice scheduled by the tempestuous family head — a band sourced from his five sons: Jermaine, Jackie, Marlon, Tito and the youngest, Michael, as its charismatic lead singer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through performances at local malls and talent shows, the group quickly cultivated a sterling local reputation, eventually taking top prize in a contest at the Apollo Theater in New York in 1967, when Michael was 9 years old. After auditioning in July 1968, The Jackson 5 was signed to Berry Gordy’s legendary Motown Records in March 1969. The group released its first single, “I Want You Back,” that October, \u003ca href=\"https://www.billboard.com/music/the-jacksons/chart-history/hot-100/song/581782\" target=\"_blank\" rel=\"noopener\">becoming\u003c/a> its first No. 1 hit the following January. The group’s first album, \u003cem>Diana Ross Presents The Jackson 5,\u003c/em> would tally an astounding 10 million sales over just 10 months; the following April, the Jackson 5’s classic “ABC” would dethrone The Beatles’ “Let It Be” from the top of the singles chart.\u003c/p>\n\u003cp>Later in life, however — after “Jackson Mania” and Saturday morning cartoons, solo careers and meet-and-greets with the Queen of England — a darker public picture of the Jackson family’s internal life was slowly revealed.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=BbItFJJPPmA\" target=\"_blank\" rel=\"noopener\">interview with Oprah Winfrey\u003c/a> in 1993, Michael Jackson revealed that the drive behind his and his brothers’ early success was a harsh regime enforced by Joe, bordering on physical and mental abuse.\u003c/p>\n\u003cp>Joe Jackson and some of the other Jackson siblings denied those allegations, describing the treatment as in line with the stern discipline practices of the day.\u003c/p>\n\u003cp>“There was a lot of love in that little house,” Jackie Jackson, the eldest brother, is quoted as saying in \u003cem>The Jacksons: Legacy\u003c/em>. “My mother was the sweetest woman you could ever meet. … My father was the one who cracked the whip.”\u003c/p>\n\u003cp>In a 2007 interview with \u003cem>The Chicago Defender,\u003c/em> Joe Jackson explained that his form of discipline was not unlike any other black family of the era. “Yeah, I whipped my kids and back then there was nothing wrong with that,” he said. “Nowadays people want to call the police on you. The people complaining about what I did got whippings from their parents too.”\u003c/p>\n\u003cp>Despite the internal tensions the allegations caused within the family, Jackson was seen holding his son’s hand as they walked into the Santa Barbara County Superior Court, before Michael’s 2005 trial on charges of child molestation, and never wavered in maintaining his son’s innocence.\u003c/p>\n\u003cp>In fact, Jackson acknowledged Michael did not exactly have the most idyllic of childhoods, saying it may have influenced the public’s perception of The King of Pop. As he \u003ca href=\"https://www.cnn.com/2013/01/30/showbiz/joe-jackson-pmt/index.html\">told CNN\u003c/a> in 2013: “Well … Michael was a big old kid himself. He was still — had the mind of a kid. But he loved kids so much. And the things that he didn’t have, he tried to help them to have it.”\u003c/p>\n\u003cp>When questioned about any regrets in that CNN interview, Jackson replied: “Well, I’m glad I was tough, because look what I came out with. I came out with some kids that everybody loved all over the world. And they treated everybody right.”\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\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=Joe+Jackson%2C+Strict+Manager+And+Father+To+Pop+Royalty%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:57 p.m. ET, June 26 with a statement from the Canadian government.\u003c/em>\u003c/p>\n\u003cp>Organizers of Ottawa’s RBC Bluesfest, which \u003ca href=\"https://ottawabluesfest.ca/our-organization/\" target=\"_blank\" rel=\"noopener\">describes\u003c/a> itself as “the Canadian version of Bonnaroo, Coachella, and/or the New Orleans Jazz and Heritage festival,” are refusing to separate a family of birds that has nested near its festival site, preventing the construction of its main stage.\u003c/p>\n\u003cp>“The fact of the matter is that, without sounding righteous, we want to do the most humane thing,” AJ Sauve, the festival’s communications director, told NPR.\u003c/p>\n\u003cp>The festival, which is expecting to draw 100,000 music fans from July 5-15, has received the go-ahead to relocate the eggs some time Tuesday.\u003c/p>\n\u003cp>“We’ve seen it all — you name it, we’ve seen it,” Sauve said. “This one here, this is a new one.” Sauve added that he and his team have become amateur ornithologists over the past two days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Environment and Climate Change Canada (ECCC) has issued a permit under the federal Migratory Birds Convention Act to allow the relocation of the nest to nearby suitable habitat,” a spokesperson for the ECCC writes in a statement to NPR. “The Killdeer is not a species at risk although the Canadian population has seen a decline over the last 40 years. The relocation will allow the nest to remain and eggs to hatch in the natural environment. In the event of nest abandonment, eggs will be transported to a rehabilitation facility to provide the best probability for survival.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=QFzxR3NERUQ\" target=\"_blank\" rel=\"noopener\">press conference\u003c/a> held Monday, festival director Mark Monahan stressed the need to find a compromise. “Within a week or so there’s going to be 100,000 people congregating on this site,” he said. “We realize that, although it may seem calm right now, it is highly unlikely that the activity level, which will be tremendous, will be conducive to the eggs or the bird continuing to be here. So we’re trying to come up with a solution that’s best obviously for the eggs and the birds, and also hopefully that wouldn’t hamper our ability to set up and eventually put on the festival.”\u003c/p>\n\u003cp>The birds are a common species called “killdeers,” which is known for both its boisterous vocalizing and its “fake broken wing dance,” which it uses to distract predators from its nest. Organizers hope to incubate the eggs, or move the nest to a safer location until the eggs hatch, after which the chicks — unlike, say, human beings — become relatively independent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I5Kt8XGFcXw\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=Killdeer+Plays+Killjoy%2C+Halts+Production+Of+%27Canada%27s+Coachella%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:57 p.m. ET, June 26 with a statement from the Canadian government.\u003c/em>\u003c/p>\n\u003cp>Organizers of Ottawa’s RBC Bluesfest, which \u003ca href=\"https://ottawabluesfest.ca/our-organization/\" target=\"_blank\" rel=\"noopener\">describes\u003c/a> itself as “the Canadian version of Bonnaroo, Coachella, and/or the New Orleans Jazz and Heritage festival,” are refusing to separate a family of birds that has nested near its festival site, preventing the construction of its main stage.\u003c/p>\n\u003cp>“The fact of the matter is that, without sounding righteous, we want to do the most humane thing,” AJ Sauve, the festival’s communications director, told NPR.\u003c/p>\n\u003cp>The festival, which is expecting to draw 100,000 music fans from July 5-15, has received the go-ahead to relocate the eggs some time Tuesday.\u003c/p>\n\u003cp>“We’ve seen it all — you name it, we’ve seen it,” Sauve said. “This one here, this is a new one.” Sauve added that he and his team have become amateur ornithologists over the past two days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Environment and Climate Change Canada (ECCC) has issued a permit under the federal Migratory Birds Convention Act to allow the relocation of the nest to nearby suitable habitat,” a spokesperson for the ECCC writes in a statement to NPR. “The Killdeer is not a species at risk although the Canadian population has seen a decline over the last 40 years. The relocation will allow the nest to remain and eggs to hatch in the natural environment. In the event of nest abandonment, eggs will be transported to a rehabilitation facility to provide the best probability for survival.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=QFzxR3NERUQ\" target=\"_blank\" rel=\"noopener\">press conference\u003c/a> held Monday, festival director Mark Monahan stressed the need to find a compromise. “Within a week or so there’s going to be 100,000 people congregating on this site,” he said. “We realize that, although it may seem calm right now, it is highly unlikely that the activity level, which will be tremendous, will be conducive to the eggs or the bird continuing to be here. So we’re trying to come up with a solution that’s best obviously for the eggs and the birds, and also hopefully that wouldn’t hamper our ability to set up and eventually put on the festival.”\u003c/p>\n\u003cp>The birds are a common species called “killdeers,” which is known for both its boisterous vocalizing and its “fake broken wing dance,” which it uses to distract predators from its nest. Organizers hope to incubate the eggs, or move the nest to a safer location until the eggs hatch, after which the chicks — unlike, say, human beings — become relatively independent. \u003c/p>\n\u003cp>\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/I5Kt8XGFcXw'\n title='//www.youtube.com/embed/I5Kt8XGFcXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Killdeer+Plays+Killjoy%2C+Halts+Production+Of+%27Canada%27s+Coachella%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Crazy Do You Have to Be to Sit Through 15 Hours of Opera?",
"headTitle": "How Crazy Do You Have to Be to Sit Through 15 Hours of Opera? | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was during the first intermission of \u003cem>The Ring\u003c/em> cycle, about three and a half hours into a 15-hour opera, that I saw my first audience member sleeping on the floor.\u003c/p>\n\u003cp>Seeing his head leaning against the wall, his jaw half-open, his hands loosely clasped around a program for Richard Wagner’s interminable masterwork, four words came to my mind: “I don’t blame him.”\u003c/p>\n\u003cp>I’ll be honest. I signed up to see \u003cem>The Ring\u003c/em> for one reason, and that’s to be able to say that I did it. Like reading \u003cem>War and Peace\u003c/em>, climbing Mount Everest, or running the Boston marathon, you see \u003cem>The Ring\u003c/em> at least in part for bragging rights. I came up playing in punk bands and listening to rap music, and while I’d grown to love some opera, my foundational years were not exactly proper training for 15 hours of it, spread over four days.\u003c/p>\n\u003cfigure id=\"attachment_13835978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg\" alt=\"Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner's 'Das Rheingold.'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13835978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner’s ‘Das Rheingold.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something inexplicable happened to me, sitting there in the War Memorial Opera House, around the halfway point of \u003cem>The Ring\u003c/em>. All the story’s threads started coming together: the rampant greed of the characters, their betrayal and incest, the corruption of power on grand display. The musical motifs overlapped on each other, and began triggering emotional synapses that I couldn’t deny. Nothing about \u003cem>The Ring\u003c/em> is what you’d call “catchy,” but I was suddenly drawn to its music and lyrics more fiercely than any pop music I’d known.\u003c/p>\n\u003cp>What the hell was happening to me? The fantasy-saga of \u003cem>The Ring\u003c/em>—about an actual ring, made from stolen gold, that grants power over the world—is not something I normally enjoy. The ring changes hands between gods and mortals and giants and mythical creatures, over three generations. \u003cem>Whoop-de-doo\u003c/em>. There’s a man-child warrior (Siegfried), an avenging Valkyrie (Brünnhilde), a conniving God (Wotan), and dozens of others in a complex family tree. Visualize me, twirling my index finger in the air and rolling my eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet I stumbled out of that third night’s production and onto Van Ness Avenue, with lunatic Wagner-worshipping fans all around me in lederhosen and horned helmets, and typed into my phone:\u003c/p>\n\u003cblockquote>\u003cp>DUDE ALL THE ELEMENTS ARE COMING TOGETHER I’M EVEN ROOTING FOR THE INCEST NOW PLUS THERE WAS A GIANT DEATH ROBOT WITH STEEL CLAWS INSIDE THE OPERA HOUSE IT IS BANANAS I AM HOOKED PLEASE JOIN MY RING FAN CLUB\u003c/p>\u003c/blockquote>\n\u003cp>Ten hours in, after three parts of \u003cem>The Ring\u003c/em> (\u003cem>Das Rheingold\u003c/em>, \u003cem>Die Walküre\u003c/em>, and \u003cem>Siegfried\u003c/em>, but before \u003cem>Götterdämmerung\u003c/em>), I’d witnessed power-hungry gods, adultery, brutal death, rapist giants killed, flaming hammers, a revolt by enslaved miners, and a guy who turns into a snake. I’d come into it ready to quit at the first moment of boredom, and now nothing, not even a giant death robot with steel claws, could stand in my way of seeing the \u003cem>The Ring\u003c/em> to completion.\u003c/p>\n\u003cfigure id=\"attachment_13835980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg\" alt=\"David Cangelosi as Mime in Wagner's 'Siegfried.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t helps that San Francisco Opera’s current \u003cem>Ring\u003c/em>—similar to its 2011 production, and again under the direction of Francesca Zambello—is not what newbies think of when they think of opera. Rather than vikings and braids and portly sopranos in breastplates, it opens like a psychedelic light show from the 1960s Fillmore, with a low-octave rumble as slow, formless swirls undulate on a massive projection screen. When the curtain comes up, it’s as if 200 teenagers have been \u003ca href=\"https://www.newyorker.com/magazine/2018/05/14/the-promise-of-vaping-and-the-rise-of-juul\" rel=\"noopener\" target=\"_blank\">Juuling\u003c/a> on stage, smoke spilling into the orchestra pit. From the start, you know this is something different.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Technically, the set is a marvel. Giants enter on a hanging I-beam. The Valkyries enter on parachutes. \u003ca href=\"https://sfopera.com/blog/top-dogs-train-for-the-opera-stage/\" rel=\"noopener\" target=\"_blank\">Two live dogs\u003c/a> race across the stage. An oversized hammer spews fireworks. A long bridge descends from the wings. An underground mine looks like a Richard Serra sculpture on PCP. A huge Cypress Structure-like freeway looms large. Lights projecting from the floor create eerie atmospheres. At one point, the entire stage is aflame around Brünnhilde.\u003c/p>\n\u003cfigure id=\"attachment_13835973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg\" alt=\"David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner's 'Siegfried.'\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13835973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-520x340.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thematically, in 2018, there’s a lot to chew on. It’s quite a thing to see an opera about the corruption of power during a week when the U.S. government is busy separating children from their parents and putting them in tent camps. (“I would never steal a cub from its mother,” Siegfried sings at one point.) And while Zambello has remarked that her \u003cem>Ring\u003c/em> is a \u003ca href=\"https://48hills.org/2018/06/ring-cycle-francesca-zambello-sf-opera/\" rel=\"noopener\" target=\"_blank\">lesson in environmentalism\u003c/a>, beginning in pre-Gold Rush California and spanning into the future, the production’s degradation of people’s living environments brings to mind those same child tent camps on the border—if not conditions in Puerto Rico, or even Division Street right here in San Francisco.\u003c/p>\n\u003cp>Perhaps this is the abiding achievement of \u003cem>The Ring\u003c/em>, this ability to reflect current events 140 years after its premiere. This production contains a daughter buried in bags of money as her rapist sings “Woman, your suffering is all your fault,” evoking Bill Cosby’s out-of-court settlements. It has Siegfried dunking a man’s head underwater until he gets what he wants, a reminder of Bush-era waterboarding. It contains a scene of women tending to a pile of cables and circuit boards; “our eternal knowledge,” they call it, plainly recalling the internet. There’s even an oath, taken on a spear, that amounts to Bill Clinton’s famous claim that “I did not have sexual relations with that woman.”\u003c/p>\n\u003cp>It makes you wonder: in 10 more years, give or take, when SF Opera likely mounts \u003cem>The Ring\u003c/em> again, which themes or characters will resonate most? What will the ring, a symbol of dominion over the world, represent to us then? What will we have learned from this moment in America? \u003c/p>\n\u003cfigure id=\"attachment_13835976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg\" alt=\"Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s 'Das Rheingold,' with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13835976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1180x845.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s ‘Das Rheingold,’ with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll of this is to say that I understand, now, the legions who call themselves the Ring Cult—the people who travel the world seeing entire \u003cem>Ring\u003c/em> cycles. (A spokesperson from SF Opera tells me that one couple flew into town from Europe to see all three complete cycles this month; I also saw a mother in the standing-room section so dedicated to \u003cem>The Ring\u003c/em> that she’d brought her baby, breastfeeding it at intermission.) Most folks think these people are crazy, but then, I think the same about those who memorize Pi to the 100th digit, or ride a bike across the country, or do hot yoga. We all have our forms of self-torture that, for whatever reason or another, benefit our soul.\u003c/p>\n\u003cp>Yes, \u003cem>The Ring\u003c/em> at times constitutes self-torture. Binge-watching television is a common analogue cited for watching 15 hours of \u003cem>The Ring\u003c/em>, except no television executive in the world could greenlight it without losing their job. It contains numerous prolonged sections of inner monologue and narration, redundant to an exasperating degree. Here are some notes I wrote while watching it:\u003c/p>\n\u003cblockquote>\u003cp>\n– \u003cem>It just took these people 5 minutes to say, basically, “It’s getting dark”\u003c/em>\u003c/p>\n\u003cp>– \u003cem>After 15 minutes of singing about it, the guy finally pulls the sword out of the tree\u003c/em>\u003c/p>\n\u003cp>– \u003cem>More endless singing about the weather\u003c/em>\u003c/p>\n\u003cp>– \u003cem>A half hour later and the story has not advanced one bit! They are still talking about the same thing they were talking about a half hour ago, which in itself was rehashing things that already happened earlier! Jesus Lord make it stop\u003c/em>\u003c/p>\n\u003cp>– \u003cem>This is really one overdramatic soap opera with 4 hours of explaining, arguing and whining, and 20 minutes of action\u003c/em>\u003c/p>\n\u003cp>– \u003cem>“A burning spell pierces my heart! My mind is reeling!… How shall I awaken her? Do I dare?” BLAH BLAH BLAH DUDE. “Yearning consumes me.” UGGGGGG\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13835974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg\" alt=\"Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13835974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut yes, this benefits the soul. These stretches, however maddening, are not mind-numbing. \u003cem>The Ring\u003c/em> is so long that it lulls one’s brain into a state of semi-hypnosis, resting but active. This is where the magic happens. Your mind floats above the story, free to think upon its greater themes, to weave them into your own life and your flashes of memory.\u003c/p>\n\u003cp>Meanwhile, the orchestra (in San Francisco, under the direction of Donald Runnicles), repeats Wagner’s \u003ca href=\"http://www.pjb.com.au/mus/wagner/\" rel=\"noopener\" target=\"_blank\">many leitmotifs\u003c/a>, tiny musical signals of character or plot or theme, feeding them to you subconsciously. You think they’re boring the hell out of you, but you are wrong. What they are doing, in essence, is rewiring your reality. \u003c/p>\n\u003cp>And then it all comes to a head—the swaying pocketwatch is snatched up, the fingers snap—and you’re back in the story with a new understanding of its world. The threads of character and music stack atop each other with greater and greater frequency. Suddenly, for the first time in 12 hours, there’s a full choir on the stage, bellowing loudly. The Earth is on the precipice of destruction. The heart rate quickens. It’s basically like watching the Warriors and the Lakers, tied 101-101 in the fourth quarter with 38 seconds to go.\u003c/p>\n\u003cfigure id=\"attachment_13835971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg\" alt=\"Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner's 'Götterdämmerung.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner’s ‘Götterdämmerung.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Opera House, before the final act of \u003cem>Götterdämmerung\u003c/em> and the final lap of my marathon of opera, my seatmate—a well-known classical critic from a national weekly magazine—turned to me and quipped, “Here we go…. now everyone lives happily ever after!”\u003c/p>\n\u003cp>I’ll spoil it for you: everyone does \u003cem>not\u003c/em> live happily ever after.\u003c/p>\n\u003cp>But I’m telling you, the next time \u003cem>The Ring\u003c/em> comes around, you might just see me in lederhosen and a horned helmet, sleeping on the floor between acts, and waiting to be transformed all over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The third and final cycle of ‘The Ring’ runs June 26–July 1 at the War Memorial Opera House in San Francisco. Tickets are $100–$535 for each part of the cycle, with $10 standing-room tickets available the morning of each performance, in person, cash only, at the box office at 10am. \u003ca href=\"https://sfopera.com/ring/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was during the first intermission of \u003cem>The Ring\u003c/em> cycle, about three and a half hours into a 15-hour opera, that I saw my first audience member sleeping on the floor.\u003c/p>\n\u003cp>Seeing his head leaning against the wall, his jaw half-open, his hands loosely clasped around a program for Richard Wagner’s interminable masterwork, four words came to my mind: “I don’t blame him.”\u003c/p>\n\u003cp>I’ll be honest. I signed up to see \u003cem>The Ring\u003c/em> for one reason, and that’s to be able to say that I did it. Like reading \u003cem>War and Peace\u003c/em>, climbing Mount Everest, or running the Boston marathon, you see \u003cem>The Ring\u003c/em> at least in part for bragging rights. I came up playing in punk bands and listening to rap music, and while I’d grown to love some opera, my foundational years were not exactly proper training for 15 hours of it, spread over four days.\u003c/p>\n\u003cfigure id=\"attachment_13835978\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg\" alt=\"Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner's 'Das Rheingold.'\" width=\"800\" height=\"545\" class=\"size-medium wp-image-13835978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1200x817.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/AlberichWotan.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falk Struckmann as Alberich as Greer Grimsley as Wotan in Wagner’s ‘Das Rheingold.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But something inexplicable happened to me, sitting there in the War Memorial Opera House, around the halfway point of \u003cem>The Ring\u003c/em>. All the story’s threads started coming together: the rampant greed of the characters, their betrayal and incest, the corruption of power on grand display. The musical motifs overlapped on each other, and began triggering emotional synapses that I couldn’t deny. Nothing about \u003cem>The Ring\u003c/em> is what you’d call “catchy,” but I was suddenly drawn to its music and lyrics more fiercely than any pop music I’d known.\u003c/p>\n\u003cp>What the hell was happening to me? The fantasy-saga of \u003cem>The Ring\u003c/em>—about an actual ring, made from stolen gold, that grants power over the world—is not something I normally enjoy. The ring changes hands between gods and mortals and giants and mythical creatures, over three generations. \u003cem>Whoop-de-doo\u003c/em>. There’s a man-child warrior (Siegfried), an avenging Valkyrie (Brünnhilde), a conniving God (Wotan), and dozens of others in a complex family tree. Visualize me, twirling my index finger in the air and rolling my eyes.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet I stumbled out of that third night’s production and onto Van Ness Avenue, with lunatic Wagner-worshipping fans all around me in lederhosen and horned helmets, and typed into my phone:\u003c/p>\n\u003cblockquote>\u003cp>DUDE ALL THE ELEMENTS ARE COMING TOGETHER I’M EVEN ROOTING FOR THE INCEST NOW PLUS THERE WAS A GIANT DEATH ROBOT WITH STEEL CLAWS INSIDE THE OPERA HOUSE IT IS BANANAS I AM HOOKED PLEASE JOIN MY RING FAN CLUB\u003c/p>\u003c/blockquote>\n\u003cp>Ten hours in, after three parts of \u003cem>The Ring\u003c/em> (\u003cem>Das Rheingold\u003c/em>, \u003cem>Die Walküre\u003c/em>, and \u003cem>Siegfried\u003c/em>, but before \u003cem>Götterdämmerung\u003c/em>), I’d witnessed power-hungry gods, adultery, brutal death, rapist giants killed, flaming hammers, a revolt by enslaved miners, and a guy who turns into a snake. I’d come into it ready to quit at the first moment of boredom, and now nothing, not even a giant death robot with steel claws, could stand in my way of seeing the \u003cem>The Ring\u003c/em> to completion.\u003c/p>\n\u003cfigure id=\"attachment_13835980\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg\" alt=\"David Cangelosi as Mime in Wagner's 'Siegfried.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835980\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Robot_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t helps that San Francisco Opera’s current \u003cem>Ring\u003c/em>—similar to its 2011 production, and again under the direction of Francesca Zambello—is not what newbies think of when they think of opera. Rather than vikings and braids and portly sopranos in breastplates, it opens like a psychedelic light show from the 1960s Fillmore, with a low-octave rumble as slow, formless swirls undulate on a massive projection screen. When the curtain comes up, it’s as if 200 teenagers have been \u003ca href=\"https://www.newyorker.com/magazine/2018/05/14/the-promise-of-vaping-and-the-rise-of-juul\" rel=\"noopener\" target=\"_blank\">Juuling\u003c/a> on stage, smoke spilling into the orchestra pit. From the start, you know this is something different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Technically, the set is a marvel. Giants enter on a hanging I-beam. The Valkyries enter on parachutes. \u003ca href=\"https://sfopera.com/blog/top-dogs-train-for-the-opera-stage/\" rel=\"noopener\" target=\"_blank\">Two live dogs\u003c/a> race across the stage. An oversized hammer spews fireworks. A long bridge descends from the wings. An underground mine looks like a Richard Serra sculpture on PCP. A huge Cypress Structure-like freeway looms large. Lights projecting from the floor create eerie atmospheres. At one point, the entire stage is aflame around Brünnhilde.\u003c/p>\n\u003cfigure id=\"attachment_13835973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg\" alt=\"David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner's 'Siegfried.'\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13835973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer-520x340.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Ring.Trailer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Cangelosi as Mime and Greer Grimsley as Wotan in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thematically, in 2018, there’s a lot to chew on. It’s quite a thing to see an opera about the corruption of power during a week when the U.S. government is busy separating children from their parents and putting them in tent camps. (“I would never steal a cub from its mother,” Siegfried sings at one point.) And while Zambello has remarked that her \u003cem>Ring\u003c/em> is a \u003ca href=\"https://48hills.org/2018/06/ring-cycle-francesca-zambello-sf-opera/\" rel=\"noopener\" target=\"_blank\">lesson in environmentalism\u003c/a>, beginning in pre-Gold Rush California and spanning into the future, the production’s degradation of people’s living environments brings to mind those same child tent camps on the border—if not conditions in Puerto Rico, or even Division Street right here in San Francisco.\u003c/p>\n\u003cp>Perhaps this is the abiding achievement of \u003cem>The Ring\u003c/em>, this ability to reflect current events 140 years after its premiere. This production contains a daughter buried in bags of money as her rapist sings “Woman, your suffering is all your fault,” evoking Bill Cosby’s out-of-court settlements. It has Siegfried dunking a man’s head underwater until he gets what he wants, a reminder of Bush-era waterboarding. It contains a scene of women tending to a pile of cables and circuit boards; “our eternal knowledge,” they call it, plainly recalling the internet. There’s even an oath, taken on a spear, that amounts to Bill Clinton’s famous claim that “I did not have sexual relations with that woman.”\u003c/p>\n\u003cp>It makes you wonder: in 10 more years, give or take, when SF Opera likely mounts \u003cem>The Ring\u003c/em> again, which themes or characters will resonate most? What will the ring, a symbol of dominion over the world, represent to us then? What will we have learned from this moment in America? \u003c/p>\n\u003cfigure id=\"attachment_13835976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg\" alt=\"Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s 'Das Rheingold,' with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13835976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-1180x845.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WotanGiants.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greer Grimsley as Wotan, Julie Adams as Freia and Andrea Silvestrelli as Fasolt in Wagner’s ‘Das Rheingold,’ with Brandon Jovanovich as Froh and Brian Mulligan as Donner looking on. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll of this is to say that I understand, now, the legions who call themselves the Ring Cult—the people who travel the world seeing entire \u003cem>Ring\u003c/em> cycles. (A spokesperson from SF Opera tells me that one couple flew into town from Europe to see all three complete cycles this month; I also saw a mother in the standing-room section so dedicated to \u003cem>The Ring\u003c/em> that she’d brought her baby, breastfeeding it at intermission.) Most folks think these people are crazy, but then, I think the same about those who memorize Pi to the 100th digit, or ride a bike across the country, or do hot yoga. We all have our forms of self-torture that, for whatever reason or another, benefit our soul.\u003c/p>\n\u003cp>Yes, \u003cem>The Ring\u003c/em> at times constitutes self-torture. Binge-watching television is a common analogue cited for watching 15 hours of \u003cem>The Ring\u003c/em>, except no television executive in the world could greenlight it without losing their job. It contains numerous prolonged sections of inner monologue and narration, redundant to an exasperating degree. Here are some notes I wrote while watching it:\u003c/p>\n\u003cblockquote>\u003cp>\n– \u003cem>It just took these people 5 minutes to say, basically, “It’s getting dark”\u003c/em>\u003c/p>\n\u003cp>– \u003cem>After 15 minutes of singing about it, the guy finally pulls the sword out of the tree\u003c/em>\u003c/p>\n\u003cp>– \u003cem>More endless singing about the weather\u003c/em>\u003c/p>\n\u003cp>– \u003cem>A half hour later and the story has not advanced one bit! They are still talking about the same thing they were talking about a half hour ago, which in itself was rehashing things that already happened earlier! Jesus Lord make it stop\u003c/em>\u003c/p>\n\u003cp>– \u003cem>This is really one overdramatic soap opera with 4 hours of explaining, arguing and whining, and 20 minutes of action\u003c/em>\u003c/p>\n\u003cp>– \u003cem>“A burning spell pierces my heart! My mind is reeling!… How shall I awaken her? Do I dare?” BLAH BLAH BLAH DUDE. “Yearning consumes me.” UGGGGGG\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13835974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg\" alt=\"Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13835974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-960x670.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_-520x363.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Siegfried.Iron_.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut yes, this benefits the soul. These stretches, however maddening, are not mind-numbing. \u003cem>The Ring\u003c/em> is so long that it lulls one’s brain into a state of semi-hypnosis, resting but active. This is where the magic happens. Your mind floats above the story, free to think upon its greater themes, to weave them into your own life and your flashes of memory.\u003c/p>\n\u003cp>Meanwhile, the orchestra (in San Francisco, under the direction of Donald Runnicles), repeats Wagner’s \u003ca href=\"http://www.pjb.com.au/mus/wagner/\" rel=\"noopener\" target=\"_blank\">many leitmotifs\u003c/a>, tiny musical signals of character or plot or theme, feeding them to you subconsciously. You think they’re boring the hell out of you, but you are wrong. What they are doing, in essence, is rewiring your reality. \u003c/p>\n\u003cp>And then it all comes to a head—the swaying pocketwatch is snatched up, the fingers snap—and you’re back in the story with a new understanding of its world. The threads of character and music stack atop each other with greater and greater frequency. Suddenly, for the first time in 12 hours, there’s a full choir on the stage, bellowing loudly. The Earth is on the precipice of destruction. The heart rate quickens. It’s basically like watching the Warriors and the Lakers, tied 101-101 in the fourth quarter with 38 seconds to go.\u003c/p>\n\u003cfigure id=\"attachment_13835971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg\" alt=\"Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner's 'Götterdämmerung.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brunnhilde.WithWomen.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde with members of the San Franciso Opera Chorus in Wagner’s ‘Götterdämmerung.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Opera House, before the final act of \u003cem>Götterdämmerung\u003c/em> and the final lap of my marathon of opera, my seatmate—a well-known classical critic from a national weekly magazine—turned to me and quipped, “Here we go…. now everyone lives happily ever after!”\u003c/p>\n\u003cp>I’ll spoil it for you: everyone does \u003cem>not\u003c/em> live happily ever after.\u003c/p>\n\u003cp>But I’m telling you, the next time \u003cem>The Ring\u003c/em> comes around, you might just see me in lederhosen and a horned helmet, sleeping on the floor between acts, and waiting to be transformed all over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The third and final cycle of ‘The Ring’ runs June 26–July 1 at the War Memorial Opera House in San Francisco. Tickets are $100–$535 for each part of the cycle, with $10 standing-room tickets available the morning of each performance, in person, cash only, at the box office at 10am. \u003ca href=\"https://sfopera.com/ring/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Philadelphia judge has denied Meek Mill’s petition for a new trial in his decade-old drug and gun convictions despite support for the request by the district attorney’s office.\u003c/p>\n\u003cp>The rapper’s attorneys cited credibility issues with a police officer who testified in his case. District Attorney Larry Krasner’s office agreed to the new trial, saying it had no confidence in the officer’s testimony.\u003c/p>\n\u003cp>Judge Genece Brinkley said in an opinion Monday that Mill had not met his burden of proof in questioning the officer’s credibility.\u003c/p>\n\u003cp>A different Philadelphia judge has granted new trials in at least three other cases involving the officer’s testimony.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to 2 to 4 years in prison for violating probation. Mill served five months before the state Supreme Court ordered his release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Philadelphia judge has denied Meek Mill’s petition for a new trial in his decade-old drug and gun convictions despite support for the request by the district attorney’s office.\u003c/p>\n\u003cp>The rapper’s attorneys cited credibility issues with a police officer who testified in his case. District Attorney Larry Krasner’s office agreed to the new trial, saying it had no confidence in the officer’s testimony.\u003c/p>\n\u003cp>Judge Genece Brinkley said in an opinion Monday that Mill had not met his burden of proof in questioning the officer’s credibility.\u003c/p>\n\u003cp>A different Philadelphia judge has granted new trials in at least three other cases involving the officer’s testimony.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to 2 to 4 years in prison for violating probation. Mill served five months before the state Supreme Court ordered his release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Arrest Made in the Murder of Rapper XXXTentacion",
"headTitle": "Arrest Made in the Murder of Rapper XXXTentacion | KQED",
"content": "\u003cp>A suspect in the murder of 20-year-old Jahseh Onfroy, better known as the controversial and chart-topping rapper XXXTentacion (pronounced “ex-ex-ex-ten-tah-see-ohn”), has been arrested, the Broward Sheriff’s Office \u003ca href=\"https://twitter.com/browardsheriff/status/1009799365156855809\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> Thursday morning. The police say that Dedrick Williams, 22 years old, was \u003ca href=\"https://apps.sheriff.org/ArrestSearch/InmateDetail/121800604\" target=\"_blank\" rel=\"noopener\">arrested\u003c/a> for the the murder of Onfroy, who was shot outside of a high-end motor sports dealership in Deerfield Beach, Fla. on June 18. Williams was arrested around 7 p.m. on Wednesday in Pompano Beach, Fla., just south of Deerfield Beach, according to police. In a follow-up statement, police \u003ca href=\"https://twitter.com/browardsheriff/status/1009836415964860417\" target=\"_blank\" rel=\"noopener\">say\u003c/a> Williams was arrested during a traffic stop and that they are still searching for additional suspects.\u003c/p>\n\u003cp>On Monday, \u003ca href=\"https://www.sheriff.org/PIO/News/Pages/RAPPER-KILLED-IN-BROAD-DAYLIGHT.aspx\" target=\"_blank\" rel=\"noopener\">investigators said\u003c/a> they were searching for two suspects, at least one of whom shot at Onfroy during an “apparent robbery,” before fleeing in a dark-colored SUV. In that statement, the sheriff’s office also noted it would offer a $3,000 reward for information that led to an arrest.\u003c/p>\n\u003cfigure id=\"attachment_13835811\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg\" alt=\"Mug shot of Dedrick Williams.\" width=\"200\" height=\"231\" class=\"size-full wp-image-13835811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc-160x185.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mug shot of Dedrick Williams. \u003ccite>(Courtesy of the Broward Sheriff's Office)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"https://twitter.com/AKWPR/status/1009169337293213696?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.nme.com%2Fnews%2Fmusic%2Fxxxtentacion-manager-statement-2341329\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from Onfroy’s manager posted on social media on Tuesday, June 19 requested that the privacy of his family, friends and loved ones “be respected at this time.”\u003c/p>\n\u003cp>Onfroy’s murder triggered an outpouring of tributes from his fans and other artists, with Kanye West \u003ca href=\"https://twitter.com/kanyewest/status/1008839504902307840\" target=\"_blank\" rel=\"noopener\">writing\u003c/a> that he never told Onfroy “how much you inspired me when you were here.” In Los Angeles on Tuesday night, a vigil attended by around 1,000 devolved into the crowd jumping on a news van and swarming passing cars, \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-xxxtentacion-memorial-fairfax-20180619-story.html\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> the \u003cem>Los Angeles Times\u003c/em>,\u003cem> \u003c/em>before being dispersed by police. Earlier that day, a Broward television station \u003ca href=\"https://www.local10.com/news/florida/deerfield-beach/vigil-held-tuesday-for-rapper-gunned-down-in-deerfield-beach\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that “hundreds” gathered at the site of his shooting in a vigil, leaving behind teddy bears and graffiti.\u003c/p>\n\u003cp>But the response to Onfroy’s death has been notably divided, due to the litany of allegations against him, including \u003ca href=\"https://www2.miami-dadeclerk.com/cjis/CasePrinter.aspx?case=Jw2cFa%2fOs%2fffWfyL1nWI8A%3d%3d&AspxAutoDetectCookieSupport=1\" target=\"_blank\" rel=\"noopener\">the battery\u003c/a> of a pregnant ex-girlfriend and a history of other violent actions, as Onfroy \u003ca href=\"http://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener\">recently described\u003c/a> in an interview with \u003cem>Miami New Times\u003c/em>. On Twitter, \u003ca href=\"https://twitter.com/francesssraeee/status/1008840916218646529\" target=\"_blank\" rel=\"noopener\">some\u003c/a> thought he didn’t deserve posthumous celebration because of that past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If we act as if he never existed, or as if he was not as popular as he was … or as if his fans didn’t see some articulation of their own hurt and hopelessness in his music, we’re lying to ourselves,” \u003cem>The Ringer\u003c/em>‘s Lindsay Zoladz \u003ca href=\"https://www.theringer.com/music/2018/6/18/17477234/xxxtentacion-death\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> the day of his death. In the headline of a piece on responses to his death, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/06/19/arts/music/xxxtentacion-death-reaction.html\" target=\"_blank\" rel=\"noopener\">wondered\u003c/a>: “Hero or Villain?”\u003c/p>\n\u003cp>XXXTentacion was one of two artists initially targeted by a “hateful conduct” policy that Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> in May, which resulted in artists not being placed onto the streaming service’s highly popular playlists. (Following criticism and protests from other artists — including \u003ca href=\"https://www.billboard.com/articles/business/8458884/top-dawg-warned-spotify-ceo-kendrick-lamar-others-pull-music-hate-conduct-policy\" target=\"_blank\" rel=\"noopener\">an ultimatum\u003c/a> from the head of Kendrick Lamar’s record label — the company later \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> the policy.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The day after his death, June 19, XXXTentacion’s song “SAD!” was streamed 10.4 million times on Spotify, breaking the global single-day streaming record set by Taylor Swift on Aug. 25 of last year, the day that her single “Look What You Made Me Do” was released, with 10.1 million. As well, his album \u003cem>?\u003c/em> is expected to \u003ca href=\"https://www.billboard.com/biz/articles/8461856/xxxtentacions-music-sales-rise-1603-after-death-as-his-album-heads-back-to-top\" target=\"_blank\" rel=\"noopener\">return\u003c/a> to the top 10 of next week’s \u003cem>Billboard \u003c/em>200 albums chart. \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=Arrest+Made+In+The+Murder+Of+Rapper+XXXTentacion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A suspect in the murder of 20-year-old Jahseh Onfroy, better known as the controversial and chart-topping rapper XXXTentacion (pronounced “ex-ex-ex-ten-tah-see-ohn”), has been arrested, the Broward Sheriff’s Office \u003ca href=\"https://twitter.com/browardsheriff/status/1009799365156855809\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> Thursday morning. The police say that Dedrick Williams, 22 years old, was \u003ca href=\"https://apps.sheriff.org/ArrestSearch/InmateDetail/121800604\" target=\"_blank\" rel=\"noopener\">arrested\u003c/a> for the the murder of Onfroy, who was shot outside of a high-end motor sports dealership in Deerfield Beach, Fla. on June 18. Williams was arrested around 7 p.m. on Wednesday in Pompano Beach, Fla., just south of Deerfield Beach, according to police. In a follow-up statement, police \u003ca href=\"https://twitter.com/browardsheriff/status/1009836415964860417\" target=\"_blank\" rel=\"noopener\">say\u003c/a> Williams was arrested during a traffic stop and that they are still searching for additional suspects.\u003c/p>\n\u003cp>On Monday, \u003ca href=\"https://www.sheriff.org/PIO/News/Pages/RAPPER-KILLED-IN-BROAD-DAYLIGHT.aspx\" target=\"_blank\" rel=\"noopener\">investigators said\u003c/a> they were searching for two suspects, at least one of whom shot at Onfroy during an “apparent robbery,” before fleeing in a dark-colored SUV. In that statement, the sheriff’s office also noted it would offer a $3,000 reward for information that led to an arrest.\u003c/p>\n\u003cfigure id=\"attachment_13835811\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg\" alt=\"Mug shot of Dedrick Williams.\" width=\"200\" height=\"231\" class=\"size-full wp-image-13835811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/d_williams_custom-6fe856f780f7e47b62854eeb36f7087f0dadb5bc-160x185.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mug shot of Dedrick Williams. \u003ccite>(Courtesy of the Broward Sheriff's Office)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"https://twitter.com/AKWPR/status/1009169337293213696?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.nme.com%2Fnews%2Fmusic%2Fxxxtentacion-manager-statement-2341329\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> from Onfroy’s manager posted on social media on Tuesday, June 19 requested that the privacy of his family, friends and loved ones “be respected at this time.”\u003c/p>\n\u003cp>Onfroy’s murder triggered an outpouring of tributes from his fans and other artists, with Kanye West \u003ca href=\"https://twitter.com/kanyewest/status/1008839504902307840\" target=\"_blank\" rel=\"noopener\">writing\u003c/a> that he never told Onfroy “how much you inspired me when you were here.” In Los Angeles on Tuesday night, a vigil attended by around 1,000 devolved into the crowd jumping on a news van and swarming passing cars, \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-xxxtentacion-memorial-fairfax-20180619-story.html\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> the \u003cem>Los Angeles Times\u003c/em>,\u003cem> \u003c/em>before being dispersed by police. Earlier that day, a Broward television station \u003ca href=\"https://www.local10.com/news/florida/deerfield-beach/vigil-held-tuesday-for-rapper-gunned-down-in-deerfield-beach\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that “hundreds” gathered at the site of his shooting in a vigil, leaving behind teddy bears and graffiti.\u003c/p>\n\u003cp>But the response to Onfroy’s death has been notably divided, due to the litany of allegations against him, including \u003ca href=\"https://www2.miami-dadeclerk.com/cjis/CasePrinter.aspx?case=Jw2cFa%2fOs%2fffWfyL1nWI8A%3d%3d&AspxAutoDetectCookieSupport=1\" target=\"_blank\" rel=\"noopener\">the battery\u003c/a> of a pregnant ex-girlfriend and a history of other violent actions, as Onfroy \u003ca href=\"http://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener\">recently described\u003c/a> in an interview with \u003cem>Miami New Times\u003c/em>. On Twitter, \u003ca href=\"https://twitter.com/francesssraeee/status/1008840916218646529\" target=\"_blank\" rel=\"noopener\">some\u003c/a> thought he didn’t deserve posthumous celebration because of that past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we act as if he never existed, or as if he was not as popular as he was … or as if his fans didn’t see some articulation of their own hurt and hopelessness in his music, we’re lying to ourselves,” \u003cem>The Ringer\u003c/em>‘s Lindsay Zoladz \u003ca href=\"https://www.theringer.com/music/2018/6/18/17477234/xxxtentacion-death\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> the day of his death. In the headline of a piece on responses to his death, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/06/19/arts/music/xxxtentacion-death-reaction.html\" target=\"_blank\" rel=\"noopener\">wondered\u003c/a>: “Hero or Villain?”\u003c/p>\n\u003cp>XXXTentacion was one of two artists initially targeted by a “hateful conduct” policy that Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> in May, which resulted in artists not being placed onto the streaming service’s highly popular playlists. (Following criticism and protests from other artists — including \u003ca href=\"https://www.billboard.com/articles/business/8458884/top-dawg-warned-spotify-ceo-kendrick-lamar-others-pull-music-hate-conduct-policy\" target=\"_blank\" rel=\"noopener\">an ultimatum\u003c/a> from the head of Kendrick Lamar’s record label — the company later \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> the policy.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The day after his death, June 19, XXXTentacion’s song “SAD!” was streamed 10.4 million times on Spotify, breaking the global single-day streaming record set by Taylor Swift on Aug. 25 of last year, the day that her single “Look What You Made Me Do” was released, with 10.1 million. As well, his album \u003cem>?\u003c/em> is expected to \u003ca href=\"https://www.billboard.com/biz/articles/8461856/xxxtentacions-music-sales-rise-1603-after-death-as-his-album-heads-back-to-top\" target=\"_blank\" rel=\"noopener\">return\u003c/a> to the top 10 of next week’s \u003cem>Billboard \u003c/em>200 albums chart. \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=Arrest+Made+In+The+Murder+Of+Rapper+XXXTentacion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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