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"title": "Weezer Covers Toto's 'Africa,' Taking Us Deep Into The Internet's Heart Of Beigeness",
"headTitle": "Weezer Covers Toto’s ‘Africa,’ Taking Us Deep Into The Internet’s Heart Of Beigeness | KQED",
"content": "\u003cp>Tuesday morning, unequivocal proof finally arrived that Humpty Dumpty is the true consciousness of the Internet. Remember what the giant egg told Alice in Lewis Carroll’s children’s classic?\u003c/p>\n\u003cblockquote>\u003cp>“‘When I use a word,’ Humpty Dumpty said in a rather scornful tone, ‘It means just what I choose it to mean — neither more nor less.'”\u003c/p>\u003c/blockquote>\n\u003cp>In Humpty’s looking-glass existence, facts, logic or hierarchies of taste do not adhere. They haven’t been reversed; they’ve just — poof! — vanished. Carroll’s book gives us the Victorian version, but it’s a similar environment that produces fake news, memes fetishizing overweight cats and now … Weezer covering Toto’s “Africa.”\u003c/p>\n\u003cp>https://youtu.be/E4c7EE8_IX0\u003c/p>\n\u003cp>Why is the decision by a long-standing Southern California pop-punk band to faithfully render a hit by an even more long-standing group of ace LA studio musicians the ultimate evidence that life online has destroyed both logic and human intuition?\u003c/p>\n\u003cp>First, some backstory. Weezer, the Los Angeles-based quartet that emerged in the 1990s with bemusingly catchy hits like “Buddy Holly,” is one of a handful of pop-punk bands that, like Woody Wooderson in the movie \u003cem>Dazed and Confused,\u003c/em> keep getting older while a good chunk of their fan base stays the same age — 14. Back in December, one such kid thought it would be funny to suggest on Twitter that the band cover the soft-rock megasmash. Why? The kid herself, named Mary, didn’t know, she told a reporter who \u003ca href=\"https://noisey.vice.com/en_au/article/pazg3g/meet-the-hero-teen-determined-to-convince-weezer-to-cover-totos-africa\">tracked her down\u003c/a>, though she has probably come up with something by now, in that 14-year-old way rationalization follows impulse. (I know from teen logic — I live with a high school freshman who adores both Weezer and “Africa.”) How did she know the Toto tune? Maybe from the Netflix sci-fi sensation \u003cem>Stranger Things, \u003c/em>which featured it in a \u003ca href=\"https://www.theodysseyonline.com/offical-ranking-songs-stranger-things\">scene\u003c/a> redolent of high school sex. Or maybe, as she implied to that reporter, she just knew it. No particular reason.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, Mary did what teens do — she set up \u003ca href=\"https://twitter.com/weezerafrica\">a Twitter account\u003c/a> solely devoted to needling Weezer, her favorite band, into covering “Africa.” It was a joke, but also an attempt to make a meme, that ultimate expression of unfixed meaning, a thing people share, well, for no particular reason. Memes are funny. Not \u003cem>that\u003c/em> funny but, you know, share and they become \u003cem>more\u003c/em> funny. Early on in Mary’s campaign, Weezer drummer Patrick Wilson responded to her, and the wheels started turning. Even though she wasn’t that successful at creating a meme — her account has just south of \u003ca href=\"https://twitter.com/weezerafrica\">2,000 followers\u003c/a> — Mary did turn an idle thought into a prime directive.\u003c/p>\n\u003cp>After some time in the social media spotlight and a fake-out that arrived last week — with Weezer having covered a different \u003ca href=\"https://www.youtube.com/watch?v=J8jr-p0lQZo\">Toto song\u003c/a> — the band has finally taken the bait. It was inevitable, because Weezer’s music is as Humpty Dumpty-ish — as grounded in toppled meanings — as the Internet itself. Band leader Rivers Cuomo has spent a quarter century making idle thoughts into cash money on the pop charts: 1994’s “Undone (The Sweater Song)” is a masterwork, the post-Nirvana answer to the Beatles’ “I Am the Walrus”; and decades of subsequent hits — from “Hash Pipe” to “Beverly Hills” to “Back to the Shack” — have fed the blur of moral and perceptual confusion the band communicates. (Sometimes, as on the fetishizing “\u003ca href=\"https://www.youtube.com/watch?v=okthJIVbi6g\">El Scorcho\u003c/a>,” the moral compass has been just plain off.) Its videos, starting with the “Buddy Holly” clip in which director Spike Jonze inserted the group into footage from the television rerun fave \u003cem>Happy Days,\u003c/em> were memes before memes existed. People loved Weezer for its profligate cleverness; many hated the band for the same reason.\u003c/p>\n\u003cp>https://youtu.be/FTQbiNvZqaY\u003c/p>\n\u003cp>Toto’s reputation is, in many ways, the opposite of Weezer’s; more accurately, it stands for a different way of thinking about music altogether. Deeply scorned by hipster tastemakers for decades as a vapid cash-making machine, Toto has been redeemed in the Internet age by a new generation unencumbered by strict hierarchies of taste. And “Africa” is its signature — meme-makers slightly older than Mary established \u003ca href=\"http://ibless.therains.downin.africa/\">websites\u003c/a> and \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">bots\u003c/a> in its honor. Critics (always ready for a hot take) wrote \u003ca href=\"https://www.vice.com/en_au/article/43n95n/how-africa-by-toto-became-the-internets-favorite-song\">belated\u003c/a> appreciations of the song’s good-natured groove. All, however, must acknowledge that the song is at best free-associative, its music not at all evocative of the continent it claims to evoke, its lyrics dreamlike in that way that eating a large meal, perhaps at an Ethiopian restaurant, makes one dream. (Start anywhere: “As sure as Kilimanjaro rises like Olympus above the Serengeti,” for example, since it’s nearly impossible to see that mountain from that region.) Even those who’ve praised it must admit that “Africa” is deeply nonsensical. It’s \u003cem>another\u003c/em> version of “I Am the Walrus” — but an accidental one.\u003c/p>\n\u003cp>So Weezer covering “Africa” at the behest of a young teen makes perfect sense, right? Sure. But what larger story is furthered by this occurrence? What cog in the grand scheme is set right? This is where the phenomenon shows how Humpty Dumpty our Internet-driven thinking has become. It would be an event if an unequivocally great band covered an inarguably terrible song; if roundly worshipped punk elders Fugazi covered Jefferson Starship’s “\u003ca href=\"https://www.gq.com/story/oral-history-we-built-this-city-worst-song-of-all-time\">We Built This City\u003c/a>,” for example. That would invert taste in a tasteful way. The same thing would be accomplished in reverse if a long-scorned artist — John Mayer, who has always been critic kryptonite — covered a universally worshipped one, like Prince. Oh wait, \u003ca href=\"https://www.youtube.com/watch?v=u1ofbohKVBc\">he did\u003c/a>. Such moments keep pop hierarchies in order by logically challenging and refreshing them.\u003c/p>\n\u003cp>But Weezer covering “Africa”? Here’s a band that music aficionados are confused and divided about covering a song that \u003cem>everyone\u003c/em> is confused and divided about. Despite the hugs it has recently earned from the hive mind, “Africa” remains utterly neutral when it comes to redefining what’s “great” in pop. Unlike other critically reclaimed pop hits, it doesn’t represent a marginalized identity group, or a lost moment in history (“\u003ca href=\"http://www.yachtrock.com/\">yacht rock\u003c/a>” has been back for more than a decade), or even the most explosive moment from the group that made it. (That’s “\u003ca href=\"https://www.youtube.com/watch?v=htgr3pvBr-I\">Hold the Line\u003c/a>.” Don’t fight me.) Nor is “Africa” offensive, even as an act of cultural appropriation, since it doesn’t actually appropriate anything African. “Africa” is deeply, essentially, innocuous; designed to be background, it has never faded, nor — before now — ever truly surfaced as important. From the minute it was released, it was always just \u003cem>there\u003c/em>. Therefore, it defies reclamation.\u003c/p>\n\u003cp>Weezer is in a similar position within pop history’s hierarchies of taste. It doesn’t own the origin story of a genre even the way Nirvana did, or as Green Day does within pop-punk. It hasn’t fed its longevity with the fuel of moral integrity, as Pearl Jam has. Nobody’s nostalgic for Weezer, because Cuomo has never stopped for more than a couple of years. The controversies that do plague the band, mostly about Cuomo’s attitude toward \u003ca href=\"https://themuse.jezebel.com/thank-god-for-girls-tracking-weezer-s-brand-of-nerd-mi-1741003116\">women\u003c/a>, have become dulled by the repetition of venial sins.\u003c/p>\n\u003cp>So does the Weezer version tell us anything new about “Africa”? We don’t have a video, so there’s no knowing how Cuomo would deal with the oddly oblique references to Africanness in Toto’s rendering (the percussion parts, provided by guest Lenny Castro, that the synths overwhelm, and certain images in the original video, like a black woman model dressed in conservative American dress and the spear thrown at singer David Paich by a half-seen brown-skinned adversary). Comparing the recordings side by side, they’re very similar. Weezer’s is in a different key, has punchier drums and a bit more guitar, and a weird little keyboard solo midway. Unlike most pop-punk versions of Top 40 hits, however, this isn’t a re-imagining. Cuomo lets the song pass through him rather than making it his own.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So, let’s review. A band many people feel kind of weird about covered a song many people feel kind of weird about, pretty much note for note, and it’s a major Internet event. People like me are even writing think pieces about it. “It’s \u003cem>very\u003c/em> provoking,” as the egg told Alice. Might as well enjoy this tea party, bless the rains and wait for the Weezer/Toto collaboration that will undoubtedly come soon.\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=Weezer+Covers+Toto%27s+%27Africa%2C%27+Taking+Us+Deep+Into+The+Internet%27s+Heart+Of+Beigeness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tuesday morning, unequivocal proof finally arrived that Humpty Dumpty is the true consciousness of the Internet. Remember what the giant egg told Alice in Lewis Carroll’s children’s classic?\u003c/p>\n\u003cblockquote>\u003cp>“‘When I use a word,’ Humpty Dumpty said in a rather scornful tone, ‘It means just what I choose it to mean — neither more nor less.'”\u003c/p>\u003c/blockquote>\n\u003cp>In Humpty’s looking-glass existence, facts, logic or hierarchies of taste do not adhere. They haven’t been reversed; they’ve just — poof! — vanished. Carroll’s book gives us the Victorian version, but it’s a similar environment that produces fake news, memes fetishizing overweight cats and now … Weezer covering Toto’s “Africa.”\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/E4c7EE8_IX0'\n title='//www.youtube.com/embed/E4c7EE8_IX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Why is the decision by a long-standing Southern California pop-punk band to faithfully render a hit by an even more long-standing group of ace LA studio musicians the ultimate evidence that life online has destroyed both logic and human intuition?\u003c/p>\n\u003cp>First, some backstory. Weezer, the Los Angeles-based quartet that emerged in the 1990s with bemusingly catchy hits like “Buddy Holly,” is one of a handful of pop-punk bands that, like Woody Wooderson in the movie \u003cem>Dazed and Confused,\u003c/em> keep getting older while a good chunk of their fan base stays the same age — 14. Back in December, one such kid thought it would be funny to suggest on Twitter that the band cover the soft-rock megasmash. Why? The kid herself, named Mary, didn’t know, she told a reporter who \u003ca href=\"https://noisey.vice.com/en_au/article/pazg3g/meet-the-hero-teen-determined-to-convince-weezer-to-cover-totos-africa\">tracked her down\u003c/a>, though she has probably come up with something by now, in that 14-year-old way rationalization follows impulse. (I know from teen logic — I live with a high school freshman who adores both Weezer and “Africa.”) How did she know the Toto tune? Maybe from the Netflix sci-fi sensation \u003cem>Stranger Things, \u003c/em>which featured it in a \u003ca href=\"https://www.theodysseyonline.com/offical-ranking-songs-stranger-things\">scene\u003c/a> redolent of high school sex. Or maybe, as she implied to that reporter, she just knew it. No particular reason.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, Mary did what teens do — she set up \u003ca href=\"https://twitter.com/weezerafrica\">a Twitter account\u003c/a> solely devoted to needling Weezer, her favorite band, into covering “Africa.” It was a joke, but also an attempt to make a meme, that ultimate expression of unfixed meaning, a thing people share, well, for no particular reason. Memes are funny. Not \u003cem>that\u003c/em> funny but, you know, share and they become \u003cem>more\u003c/em> funny. Early on in Mary’s campaign, Weezer drummer Patrick Wilson responded to her, and the wheels started turning. Even though she wasn’t that successful at creating a meme — her account has just south of \u003ca href=\"https://twitter.com/weezerafrica\">2,000 followers\u003c/a> — Mary did turn an idle thought into a prime directive.\u003c/p>\n\u003cp>After some time in the social media spotlight and a fake-out that arrived last week — with Weezer having covered a different \u003ca href=\"https://www.youtube.com/watch?v=J8jr-p0lQZo\">Toto song\u003c/a> — the band has finally taken the bait. It was inevitable, because Weezer’s music is as Humpty Dumpty-ish — as grounded in toppled meanings — as the Internet itself. Band leader Rivers Cuomo has spent a quarter century making idle thoughts into cash money on the pop charts: 1994’s “Undone (The Sweater Song)” is a masterwork, the post-Nirvana answer to the Beatles’ “I Am the Walrus”; and decades of subsequent hits — from “Hash Pipe” to “Beverly Hills” to “Back to the Shack” — have fed the blur of moral and perceptual confusion the band communicates. (Sometimes, as on the fetishizing “\u003ca href=\"https://www.youtube.com/watch?v=okthJIVbi6g\">El Scorcho\u003c/a>,” the moral compass has been just plain off.) Its videos, starting with the “Buddy Holly” clip in which director Spike Jonze inserted the group into footage from the television rerun fave \u003cem>Happy Days,\u003c/em> were memes before memes existed. People loved Weezer for its profligate cleverness; many hated the band for the same reason.\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/FTQbiNvZqaY'\n title='//www.youtube.com/embed/FTQbiNvZqaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Toto’s reputation is, in many ways, the opposite of Weezer’s; more accurately, it stands for a different way of thinking about music altogether. Deeply scorned by hipster tastemakers for decades as a vapid cash-making machine, Toto has been redeemed in the Internet age by a new generation unencumbered by strict hierarchies of taste. And “Africa” is its signature — meme-makers slightly older than Mary established \u003ca href=\"http://ibless.therains.downin.africa/\">websites\u003c/a> and \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">bots\u003c/a> in its honor. Critics (always ready for a hot take) wrote \u003ca href=\"https://www.vice.com/en_au/article/43n95n/how-africa-by-toto-became-the-internets-favorite-song\">belated\u003c/a> appreciations of the song’s good-natured groove. All, however, must acknowledge that the song is at best free-associative, its music not at all evocative of the continent it claims to evoke, its lyrics dreamlike in that way that eating a large meal, perhaps at an Ethiopian restaurant, makes one dream. (Start anywhere: “As sure as Kilimanjaro rises like Olympus above the Serengeti,” for example, since it’s nearly impossible to see that mountain from that region.) Even those who’ve praised it must admit that “Africa” is deeply nonsensical. It’s \u003cem>another\u003c/em> version of “I Am the Walrus” — but an accidental one.\u003c/p>\n\u003cp>So Weezer covering “Africa” at the behest of a young teen makes perfect sense, right? Sure. But what larger story is furthered by this occurrence? What cog in the grand scheme is set right? This is where the phenomenon shows how Humpty Dumpty our Internet-driven thinking has become. It would be an event if an unequivocally great band covered an inarguably terrible song; if roundly worshipped punk elders Fugazi covered Jefferson Starship’s “\u003ca href=\"https://www.gq.com/story/oral-history-we-built-this-city-worst-song-of-all-time\">We Built This City\u003c/a>,” for example. That would invert taste in a tasteful way. The same thing would be accomplished in reverse if a long-scorned artist — John Mayer, who has always been critic kryptonite — covered a universally worshipped one, like Prince. Oh wait, \u003ca href=\"https://www.youtube.com/watch?v=u1ofbohKVBc\">he did\u003c/a>. Such moments keep pop hierarchies in order by logically challenging and refreshing them.\u003c/p>\n\u003cp>But Weezer covering “Africa”? Here’s a band that music aficionados are confused and divided about covering a song that \u003cem>everyone\u003c/em> is confused and divided about. Despite the hugs it has recently earned from the hive mind, “Africa” remains utterly neutral when it comes to redefining what’s “great” in pop. Unlike other critically reclaimed pop hits, it doesn’t represent a marginalized identity group, or a lost moment in history (“\u003ca href=\"http://www.yachtrock.com/\">yacht rock\u003c/a>” has been back for more than a decade), or even the most explosive moment from the group that made it. (That’s “\u003ca href=\"https://www.youtube.com/watch?v=htgr3pvBr-I\">Hold the Line\u003c/a>.” Don’t fight me.) Nor is “Africa” offensive, even as an act of cultural appropriation, since it doesn’t actually appropriate anything African. “Africa” is deeply, essentially, innocuous; designed to be background, it has never faded, nor — before now — ever truly surfaced as important. From the minute it was released, it was always just \u003cem>there\u003c/em>. Therefore, it defies reclamation.\u003c/p>\n\u003cp>Weezer is in a similar position within pop history’s hierarchies of taste. It doesn’t own the origin story of a genre even the way Nirvana did, or as Green Day does within pop-punk. It hasn’t fed its longevity with the fuel of moral integrity, as Pearl Jam has. Nobody’s nostalgic for Weezer, because Cuomo has never stopped for more than a couple of years. The controversies that do plague the band, mostly about Cuomo’s attitude toward \u003ca href=\"https://themuse.jezebel.com/thank-god-for-girls-tracking-weezer-s-brand-of-nerd-mi-1741003116\">women\u003c/a>, have become dulled by the repetition of venial sins.\u003c/p>\n\u003cp>So does the Weezer version tell us anything new about “Africa”? We don’t have a video, so there’s no knowing how Cuomo would deal with the oddly oblique references to Africanness in Toto’s rendering (the percussion parts, provided by guest Lenny Castro, that the synths overwhelm, and certain images in the original video, like a black woman model dressed in conservative American dress and the spear thrown at singer David Paich by a half-seen brown-skinned adversary). Comparing the recordings side by side, they’re very similar. Weezer’s is in a different key, has punchier drums and a bit more guitar, and a weird little keyboard solo midway. Unlike most pop-punk versions of Top 40 hits, however, this isn’t a re-imagining. Cuomo lets the song pass through him rather than making it his own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, let’s review. A band many people feel kind of weird about covered a song many people feel kind of weird about, pretty much note for note, and it’s a major Internet event. People like me are even writing think pieces about it. “It’s \u003cem>very\u003c/em> provoking,” as the egg told Alice. Might as well enjoy this tea party, bless the rains and wait for the Weezer/Toto collaboration that will undoubtedly come soon.\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=Weezer+Covers+Toto%27s+%27Africa%2C%27+Taking+Us+Deep+Into+The+Internet%27s+Heart+Of+Beigeness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Brockhampton, the sprawling L.A. hip-hop collective, has parted ways with core member Ameer Vann over allegations of sexual misconduct and abuse toward women. \u003c/p>\n\u003cp>“Ameer is no longer in BROCKHAMPTON,” the band announced in a statement. “We want to sincerely apologize to the victims affected by Ameer’s actions. We were lied to, and we’re sorry for not speaking up sooner.” \u003c/p>\n\u003cp>Brockhampton has also canceled their remaining U.S. tour dates to “go home and regroup.” \u003c/p>\n\u003cp>https://twitter.com/brckhmptn/status/1000705013747015680\u003c/p>\n\u003cp>Vann had \u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">been accused in May\u003c/a> of being a “predator and cheater” who “has sex with underage/legal [sic] fans” by Twitter user @GIGINOTHADID. Vann was also called “\u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">emotional manipulative [sic] and mentally abusive\u003c/a>” by singer-songwriter Rhett Rowan, who \u003ca href=\"https://twitter.com/rhettrowan/status/995340430970630150\" rel=\"noopener\" target=\"_blank\">accused him of having sex with a minor\u003c/a> prior to dating her in 2015. \u003c/p>\n\u003cfigure id=\"attachment_13832084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9829.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"535\" class=\"size-full wp-image-13832084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly afterward, Vann \u003ca href=\"https://twitter.com/ameervann/status/995418907610525696?lang=en\" rel=\"noopener\" target=\"_blank\">responded on Twitter\u003c/a>: “In response to the claims of emotional and sexual abuse: although my behavior has been selfish, childish, and unkind, I have never criminally harmed anyone or disrespected their boundaries. I have never had relations with a minor or violated anybody’s consent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vann’s departure from the group became heavily rumored when Brockhampton performed without Vann on Sunday in Boston, where the group members stood silent during Vann’s verses, holding their hands together and hugging each other. \u003c/p>\n\u003cp>https://twitter.com/brckhmptnarg/status/1000553918747828224\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brockhampton most recently performed in the Bay Area at the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision festival in Oakland\u003c/a>. Brockhampton’s \u003cem>Saturation\u003c/em> albums from 2017 all feature Vann’s face on the cover. The band has pushed back the release of their upcoming album, \u003cem>Puppy\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brockhampton, the sprawling L.A. hip-hop collective, has parted ways with core member Ameer Vann over allegations of sexual misconduct and abuse toward women. \u003c/p>\n\u003cp>“Ameer is no longer in BROCKHAMPTON,” the band announced in a statement. “We want to sincerely apologize to the victims affected by Ameer’s actions. We were lied to, and we’re sorry for not speaking up sooner.” \u003c/p>\n\u003cp>Brockhampton has also canceled their remaining U.S. tour dates to “go home and regroup.” \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Vann had \u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">been accused in May\u003c/a> of being a “predator and cheater” who “has sex with underage/legal [sic] fans” by Twitter user @GIGINOTHADID. Vann was also called “\u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">emotional manipulative [sic] and mentally abusive\u003c/a>” by singer-songwriter Rhett Rowan, who \u003ca href=\"https://twitter.com/rhettrowan/status/995340430970630150\" rel=\"noopener\" target=\"_blank\">accused him of having sex with a minor\u003c/a> prior to dating her in 2015. \u003c/p>\n\u003cfigure id=\"attachment_13832084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9829.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"535\" class=\"size-full wp-image-13832084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly afterward, Vann \u003ca href=\"https://twitter.com/ameervann/status/995418907610525696?lang=en\" rel=\"noopener\" target=\"_blank\">responded on Twitter\u003c/a>: “In response to the claims of emotional and sexual abuse: although my behavior has been selfish, childish, and unkind, I have never criminally harmed anyone or disrespected their boundaries. I have never had relations with a minor or violated anybody’s consent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vann’s departure from the group became heavily rumored when Brockhampton performed without Vann on Sunday in Boston, where the group members stood silent during Vann’s verses, holding their hands together and hugging each other. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Brockhampton most recently performed in the Bay Area at the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision festival in Oakland\u003c/a>. Brockhampton’s \u003cem>Saturation\u003c/em> albums from 2017 all feature Vann’s face on the cover. The band has pushed back the release of their upcoming album, \u003cem>Puppy\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the debut of the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener\">Blurry Vision Fest\u003c/a> in Oakland earlier this month and \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a> and \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> around the corner, \u003ca href=\"https://www.kqed.org/arts/13831900/summertime-feeling-9-outdoor-concerts-and-festivals-in-the-bay-area\" target=\"_blank\" rel=\"noopener\">music festival season\u003c/a> is officially underway in the Bay Area.\u003c/p>\n\u003cp>This mixtape features music from local artists performing at festivals around the region in the coming months. San Francisco’s \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> is certainly the biggest summer music festival in the area; its 2018 lineup is particularly notable for its overdue inclusion of \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">female headliners\u003c/a> (Janet Jackson!) and a ton of local performers. But the Bay Area has many other festivals to offer, and this mix reflects the variety of concert-going experiences available in Northern California.\u003c/p>\n\u003cp>Between now and the end of the summer, one can check out beloved legacy events \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> and Carnaval, exciting new fests like \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> and \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a> and the road trip-worthy \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> and \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all eleven bands and their corresponding festivals.\u003c/p>\n\u003cp>\u003cstrong>Track List\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener\">Thao & The Get Down Stay Down\u003c/a>, “Astonished Man”\u003cbr>\n\u003cem>The beloved local indie rock band opens for M. Ward at the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> on July 1.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thatblackkidthatraps/\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>, “Soul”\u003cbr>\n\u003cem>Berkeley’s Caleborate is one of many local artists at \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2018\u003c/a>, joining SOB x RBE, Shannon and the Clams, Monophonics and more Aug. 10–12.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.martyoreilly.com/\" target=\"_blank\" rel=\"noopener\">Marty O’Reilly & the Old Soul Orchestra\u003c/a>, “Off and On Again”\u003cbr>\n\u003cem>The Santa Cruz quartet plays on May 27 at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">La Clandestina\u003c/a>, “Voy Para Arriba”\u003cbr>\n\u003cem>The Latin jazz ensemble performs at the 40th annual \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> on May 27 with LoCura, Bayonics, Bang Data and more.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://omgdrama.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Drama\u003c/a>, “Parking Meter”\u003cbr>\n\u003cem>The punk band plays \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a>, which runs from August 9–12 in San Francisco and Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.birdmanrecords.com/grisgris/index.html\" target=\"_blank\" rel=\"noopener\">Gris Gris\u003c/a>, “Year Zero”\u003cbr>\n\u003cem>On July 1, the Bay Area psych band joins The Damned, Le Shok and many more at Oakland’s \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://spellling.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spelling\u003c/a>, “Blue (American Dream)”\u003cbr>\n\u003cem>Performing with Siri, AllBlack, Raxx Life Raj and more at \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> on June 16 at the Craneway Pavilion in Richmond.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sonnysmith.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a>, “Pictures of You”\u003cbr>\n\u003cem>The San Francisco musician heads to Sonoma Valley to join Wooden Shjips, Jonathan Richman and Steve Gunn at the \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> on June 9.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://soldevelopmentmusic.com/\" target=\"_blank\" rel=\"noopener\">Sol Development\u003c/a>, “Sunny Days (ft. Mark Knoxx)”\u003cbr>\n\u003cem>The hip-hop-jazz ensemble performs alongside Mino Yanci on Aug. 2 at the \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Gardens Festival\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://meernaa.com/\" target=\"_blank\" rel=\"noopener\">Meernaa\u003c/a>, “Good Luck”\u003cbr>\n\u003cem>Oakland’s Meernaa travels to Mendocino to perform at \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a> on June 15.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.trebuchetmusic.com/\" target=\"_blank\" rel=\"noopener\">Trebuchet\u003c/a>, “A Confession”\u003cbr>\n\u003cem>The Petaluma band joins Frankie Boots, Mickelson, Ismay and 20 other artists at Santa Rosa’s \u003ca href=\"http://www.railroadsquaremusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Railroad Square Music Festival\u003c/a> on June 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the debut of the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener\">Blurry Vision Fest\u003c/a> in Oakland earlier this month and \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a> and \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> around the corner, \u003ca href=\"https://www.kqed.org/arts/13831900/summertime-feeling-9-outdoor-concerts-and-festivals-in-the-bay-area\" target=\"_blank\" rel=\"noopener\">music festival season\u003c/a> is officially underway in the Bay Area.\u003c/p>\n\u003cp>This mixtape features music from local artists performing at festivals around the region in the coming months. San Francisco’s \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> is certainly the biggest summer music festival in the area; its 2018 lineup is particularly notable for its overdue inclusion of \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">female headliners\u003c/a> (Janet Jackson!) and a ton of local performers. But the Bay Area has many other festivals to offer, and this mix reflects the variety of concert-going experiences available in Northern California.\u003c/p>\n\u003cp>Between now and the end of the summer, one can check out beloved legacy events \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> and Carnaval, exciting new fests like \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> and \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a> and the road trip-worthy \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> and \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all eleven bands and their corresponding festivals.\u003c/p>\n\u003cp>\u003cstrong>Track List\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener\">Thao & The Get Down Stay Down\u003c/a>, “Astonished Man”\u003cbr>\n\u003cem>The beloved local indie rock band opens for M. Ward at the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> on July 1.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thatblackkidthatraps/\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>, “Soul”\u003cbr>\n\u003cem>Berkeley’s Caleborate is one of many local artists at \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2018\u003c/a>, joining SOB x RBE, Shannon and the Clams, Monophonics and more Aug. 10–12.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.martyoreilly.com/\" target=\"_blank\" rel=\"noopener\">Marty O’Reilly & the Old Soul Orchestra\u003c/a>, “Off and On Again”\u003cbr>\n\u003cem>The Santa Cruz quartet plays on May 27 at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">La Clandestina\u003c/a>, “Voy Para Arriba”\u003cbr>\n\u003cem>The Latin jazz ensemble performs at the 40th annual \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> on May 27 with LoCura, Bayonics, Bang Data and more.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://omgdrama.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Drama\u003c/a>, “Parking Meter”\u003cbr>\n\u003cem>The punk band plays \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a>, which runs from August 9–12 in San Francisco and Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.birdmanrecords.com/grisgris/index.html\" target=\"_blank\" rel=\"noopener\">Gris Gris\u003c/a>, “Year Zero”\u003cbr>\n\u003cem>On July 1, the Bay Area psych band joins The Damned, Le Shok and many more at Oakland’s \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://spellling.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spelling\u003c/a>, “Blue (American Dream)”\u003cbr>\n\u003cem>Performing with Siri, AllBlack, Raxx Life Raj and more at \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> on June 16 at the Craneway Pavilion in Richmond.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sonnysmith.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a>, “Pictures of You”\u003cbr>\n\u003cem>The San Francisco musician heads to Sonoma Valley to join Wooden Shjips, Jonathan Richman and Steve Gunn at the \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> on June 9.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://soldevelopmentmusic.com/\" target=\"_blank\" rel=\"noopener\">Sol Development\u003c/a>, “Sunny Days (ft. Mark Knoxx)”\u003cbr>\n\u003cem>The hip-hop-jazz ensemble performs alongside Mino Yanci on Aug. 2 at the \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Gardens Festival\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://meernaa.com/\" target=\"_blank\" rel=\"noopener\">Meernaa\u003c/a>, “Good Luck”\u003cbr>\n\u003cem>Oakland’s Meernaa travels to Mendocino to perform at \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a> on June 15.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.trebuchetmusic.com/\" target=\"_blank\" rel=\"noopener\">Trebuchet\u003c/a>, “A Confession”\u003cbr>\n\u003cem>The Petaluma band joins Frankie Boots, Mickelson, Ismay and 20 other artists at Santa Rosa’s \u003ca href=\"http://www.railroadsquaremusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Railroad Square Music Festival\u003c/a> on June 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With 'Jackie Chan,' We've Reached Peak Label-Engineered Collabs",
"headTitle": "With ‘Jackie Chan,’ We’ve Reached Peak Label-Engineered Collabs | KQED",
"content": "\u003cp>It’s so tacky that at first I thought it \u003cem>had\u003c/em> to be a joke. I skipped the track on Tidal and vowed to avoid pop radio all summer, lest I unwittingly encounter it in the wild.\u003c/p>\n\u003cp>And yet! Over the time elapsed since I first heard the new Post Malone song with Tiësto, “\u003ca href=\"https://youtu.be/wrEvM4EYNYc\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Chan\u003c/a>,” and sat down to finish writing (approx. 24 hours), the track’s nursery rhyme melody worked its witchcraft on me. I now can’t help but hum its extremely cheesy hook: “I just ordered sushi from Japa-aaa-aan / Now your b-tch wanna kick it, Jackie Cha-aaa-aan.”\u003c/p>\n\u003cp>SOS. Is there a brain-scrubbing service that I can consult for this?\u003c/p>\n\u003cp>In pairing a trending artist like Malone with super-producer Tiësto (plus two relative unknowns, producer Dzeko and rapper Preme) “Jackie Chan” is a shameless bid to land a “Despacito”-scale, international \u003ca href=\"https://www.kqed.org/arts/13258139/song-of-the-summer-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Summer™\u003c/a>.\u003c/p>\n\u003cp>And it just might work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You know the process by now. Tiësto plays “Jackie Chan” in Vegas; Post Malone performs it on his tour; stations like Wild 94.9 add it to their rotations; and it inevitably climbs the Billboard Hot 100, possibly breaking the top ten. By the end of the summer, even the snobbiest music fans sing along to that godforsaken “Cha-aaa-aan” melody.\u003c/p>\n\u003cp>Dutch EDM producer Tiësto and white American rapper Post Malone—artists two continents and one generation apart—might seem like unnatural collaborators, and that’s because they are. In an over-saturated media landscape, where artists need gimmicks to compete for fans’ attention, labels increasingly favor the practice of pairing together popular artists who have nothing in common. It’s an obvious bid to maximize profits by combining the streaming power of both fan bases, and it’s starting to become transparent and cheap.\u003c/p>\n\u003cp>With the prevalence of partnerships like Tiësto and Malone’s, which both feel and sound forced, we’ve reached peak label-engineered collabs. These cloying songs incessantly remind us that the music industry is an \u003cem>industry\u003c/em>. And, frankly, that erases all the magic, fun and spontaneity from pop music.\u003c/p>\n\u003cp>Yes, features in rap and R&B especially have been a way to boost numbers for decades. But these transparent attempts to game the charts are all over today’s radio: take Rita Ora’s “\u003ca href=\"https://youtu.be/mdWcaWBxxcY\" target=\"_blank\" rel=\"noopener noreferrer\">Girls\u003c/a>” with Charlie XCX, Cardi B and Bebe Rexha; or \u003ca href=\"https://youtu.be/dPI-mRFEIH0\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry featuring Migos\u003c/a>; or \u003ca href=\"https://youtu.be/BQ0mxQXmLsk\" target=\"_blank\" rel=\"noopener noreferrer\">Camila Cabello featuring Young Thug\u003c/a>. These types of mega-collabs sometimes work, like G-Eazy’s admittedly catchy “\u003ca href=\"https://youtu.be/l_lblj8Cq0o\" target=\"_blank\" rel=\"noopener noreferrer\">No Limit\u003c/a>,” featuring A$AP Rocky and Cardi B. But when they \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/05/rita-ora-girls-backlash/560321/\" target=\"_blank\" rel=\"noopener noreferrer\">flop\u003c/a> like “Girls,” their perceptible absence of musical chemistry is especially cringeworthy.\u003c/p>\n\u003cp>https://youtu.be/lLlH9z1CK94\u003c/p>\n\u003cp>This new era of “\u003ca href=\"https://youtu.be/d4KN-bIcdBs\" target=\"_blank\" rel=\"noopener noreferrer\">What’s Going On (2001)\u003c/a>“-esque celebrity mashups has its current-day origins in Drake and Future’s 2015 album \u003cem>What a Time to Be Alive\u003c/em>, a runaway success that clued labels into the profit potential of two giants coming together, despite its \u003ca href=\"http://www.metacritic.com/music/what-a-time-to-be-alive-mixtape/drake-future\" target=\"_blank\" rel=\"noopener noreferrer\">C-minus reviews\u003c/a>. (For the record, I still like \u003cem>WATTBA\u003c/em>.) When super-producers like DJ Khaled and Calvin Harris rose to prominence, mega-collabs only became more prevalent. Khaled’s “I’m the One” featuring Justin Bieber, Quavo, Lil Wayne and Chance the Rapper dominated Billboard in the summer of 2017, leading us into the current era of Perry and Migos’ “Bon Apetit,” “Girls,” “Jackie Chan” and their ilk.\u003c/p>\n\u003cp>Pop music has always been a business, and maybe I’m just getting older and more jaded. But as the artificial-feeling collab phenomenon continues, it’s resulting in an overabundance of canned, rote and, frankly, boring music.\u003c/p>\n\u003cp>I want to see spectacle. I want to see greatness. I want pop songs that help us transcend the relentless news cycle for three minutes and believe in the beauty and magic of life. In an era where nearly everything in entertainment reeks of \u003ca href=\"https://www.theatlantic.com/technology/archive/2018/05/the-lil-tay-saga-reaches-its-logical-conclusion/561116/\" target=\"_blank\" rel=\"noopener noreferrer\">exploitation\u003c/a> or \u003ca href=\"https://twitter.com/kanyewest/status/990024126860423168?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">outright trolling\u003c/a>, these label-engineered collabs feel like another cynical way to gain clicks and streams. They don’t have too much magic to them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What they \u003cem>do\u003c/em> have is incessant, nagging hooks. And if you see me out this summer singing “Jackie Chan,” know this: I’m so sorry.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s so tacky that at first I thought it \u003cem>had\u003c/em> to be a joke. I skipped the track on Tidal and vowed to avoid pop radio all summer, lest I unwittingly encounter it in the wild.\u003c/p>\n\u003cp>And yet! Over the time elapsed since I first heard the new Post Malone song with Tiësto, “\u003ca href=\"https://youtu.be/wrEvM4EYNYc\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Chan\u003c/a>,” and sat down to finish writing (approx. 24 hours), the track’s nursery rhyme melody worked its witchcraft on me. I now can’t help but hum its extremely cheesy hook: “I just ordered sushi from Japa-aaa-aan / Now your b-tch wanna kick it, Jackie Cha-aaa-aan.”\u003c/p>\n\u003cp>SOS. Is there a brain-scrubbing service that I can consult for this?\u003c/p>\n\u003cp>In pairing a trending artist like Malone with super-producer Tiësto (plus two relative unknowns, producer Dzeko and rapper Preme) “Jackie Chan” is a shameless bid to land a “Despacito”-scale, international \u003ca href=\"https://www.kqed.org/arts/13258139/song-of-the-summer-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Summer™\u003c/a>.\u003c/p>\n\u003cp>And it just might work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You know the process by now. Tiësto plays “Jackie Chan” in Vegas; Post Malone performs it on his tour; stations like Wild 94.9 add it to their rotations; and it inevitably climbs the Billboard Hot 100, possibly breaking the top ten. By the end of the summer, even the snobbiest music fans sing along to that godforsaken “Cha-aaa-aan” melody.\u003c/p>\n\u003cp>Dutch EDM producer Tiësto and white American rapper Post Malone—artists two continents and one generation apart—might seem like unnatural collaborators, and that’s because they are. In an over-saturated media landscape, where artists need gimmicks to compete for fans’ attention, labels increasingly favor the practice of pairing together popular artists who have nothing in common. It’s an obvious bid to maximize profits by combining the streaming power of both fan bases, and it’s starting to become transparent and cheap.\u003c/p>\n\u003cp>With the prevalence of partnerships like Tiësto and Malone’s, which both feel and sound forced, we’ve reached peak label-engineered collabs. These cloying songs incessantly remind us that the music industry is an \u003cem>industry\u003c/em>. And, frankly, that erases all the magic, fun and spontaneity from pop music.\u003c/p>\n\u003cp>Yes, features in rap and R&B especially have been a way to boost numbers for decades. But these transparent attempts to game the charts are all over today’s radio: take Rita Ora’s “\u003ca href=\"https://youtu.be/mdWcaWBxxcY\" target=\"_blank\" rel=\"noopener noreferrer\">Girls\u003c/a>” with Charlie XCX, Cardi B and Bebe Rexha; or \u003ca href=\"https://youtu.be/dPI-mRFEIH0\" target=\"_blank\" rel=\"noopener noreferrer\">Katy Perry featuring Migos\u003c/a>; or \u003ca href=\"https://youtu.be/BQ0mxQXmLsk\" target=\"_blank\" rel=\"noopener noreferrer\">Camila Cabello featuring Young Thug\u003c/a>. These types of mega-collabs sometimes work, like G-Eazy’s admittedly catchy “\u003ca href=\"https://youtu.be/l_lblj8Cq0o\" target=\"_blank\" rel=\"noopener noreferrer\">No Limit\u003c/a>,” featuring A$AP Rocky and Cardi B. But when they \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/05/rita-ora-girls-backlash/560321/\" target=\"_blank\" rel=\"noopener noreferrer\">flop\u003c/a> like “Girls,” their perceptible absence of musical chemistry is especially cringeworthy.\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/lLlH9z1CK94'\n title='//www.youtube.com/embed/lLlH9z1CK94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This new era of “\u003ca href=\"https://youtu.be/d4KN-bIcdBs\" target=\"_blank\" rel=\"noopener noreferrer\">What’s Going On (2001)\u003c/a>“-esque celebrity mashups has its current-day origins in Drake and Future’s 2015 album \u003cem>What a Time to Be Alive\u003c/em>, a runaway success that clued labels into the profit potential of two giants coming together, despite its \u003ca href=\"http://www.metacritic.com/music/what-a-time-to-be-alive-mixtape/drake-future\" target=\"_blank\" rel=\"noopener noreferrer\">C-minus reviews\u003c/a>. (For the record, I still like \u003cem>WATTBA\u003c/em>.) When super-producers like DJ Khaled and Calvin Harris rose to prominence, mega-collabs only became more prevalent. Khaled’s “I’m the One” featuring Justin Bieber, Quavo, Lil Wayne and Chance the Rapper dominated Billboard in the summer of 2017, leading us into the current era of Perry and Migos’ “Bon Apetit,” “Girls,” “Jackie Chan” and their ilk.\u003c/p>\n\u003cp>Pop music has always been a business, and maybe I’m just getting older and more jaded. But as the artificial-feeling collab phenomenon continues, it’s resulting in an overabundance of canned, rote and, frankly, boring music.\u003c/p>\n\u003cp>I want to see spectacle. I want to see greatness. I want pop songs that help us transcend the relentless news cycle for three minutes and believe in the beauty and magic of life. In an era where nearly everything in entertainment reeks of \u003ca href=\"https://www.theatlantic.com/technology/archive/2018/05/the-lil-tay-saga-reaches-its-logical-conclusion/561116/\" target=\"_blank\" rel=\"noopener noreferrer\">exploitation\u003c/a> or \u003ca href=\"https://twitter.com/kanyewest/status/990024126860423168?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">outright trolling\u003c/a>, these label-engineered collabs feel like another cynical way to gain clicks and streams. They don’t have too much magic to them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What they \u003cem>do\u003c/em> have is incessant, nagging hooks. And if you see me out this summer singing “Jackie Chan,” know this: I’m so sorry.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Who Needs VJs With the OutOfFocus Video Music Fest?",
"headTitle": "Who Needs VJs With the OutOfFocus Video Music Fest? | KQED",
"content": "\u003cp>Let’s take a trip back into history, long ago, when MTV actually showed music videos. \u003c/p>\n\u003cp>Or rather, let’s take a trip to the New Parkway in Oakland, where they’re bringing back Kurt Loder vibes with a music video extravaganza—the fourth annual OutofFocus Video Music Fest, with music videos, animations and shorts produced by local artists. (Last year’s fest included work from local bands like Shannon and the Clams, the Younger Lovers, and Carletta Sue Kay.)\u003c/p>\n\u003cp>To top it off, at the end of the evening, the audience has the chance to select the 2018 Audience Choice Award. It’s basically the Oakland VMAs.\u003c/p>\n\u003cp>\u003cem>The Fourth Annual OutofFocus Music Video Fest gets underway Wednesday, May 30, at the New Parkway in Oakland. \u003ca href=\"http://outoffocus.tv/2018/04/17/focus-music-video-fest-2018/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Michael Jackson's Gravity-Defying Lean Continues to Fascinate",
"headTitle": "Michael Jackson’s Gravity-Defying Lean Continues to Fascinate | KQED",
"content": "\u003cp>From the quarter toss into the jukebox to the cue ball crushed into powder and blown into a baddie’s face to the moonwalk that lasts more than a blink of an eye, if you haven’t watched the video for \u003ca href=\"https://www.npr.org/artists/16782748/michael-jackson\">Michael Jackson\u003c/a>‘s “Smooth Criminal” in a while, it’s every bit as magic as you remember it. Jackson was always something of an illusionist, particularly when it came to his signature dance moves.\u003c/p>\n\u003cp>Three neurosurgeons (and admitted Jackson fans) from the Postgraduate Institute of Medical Education and Research in Chandigarh, India — Nishant S. Yagnick, Manjul Tripathi and Sandeep Mohindra — have revisited how the King of Pop achieved the 45-degree lean while keeping his spine straight, not just on video, but in live performances around the world.\u003c/p>\n\u003cp>“Several MJ fans, including the authors, have tried to copy this move and failed, often injuring themselves in their endeavors,” reads the \u003ca href=\"http://thejns.org/doi/full/10.3171/2018.2.SPINE171443\">paper published\u003c/a> in the \u003cem>Journal of Neurosurgery\u003c/em>. Trained dancers can lean forward a maximum of 25 to 30 degrees, but even then, it can put serious strain on the Achilles tendon.\u003c/p>\n\u003cfigure id=\"attachment_13833172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe\" alt=\"Michael Jackson's 45-degree tilt versus the rest of humanity illustrated, along with Jackson's secret weapon.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1200x900.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-520x390.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson’s 45-degree tilt versus the rest of humanity illustrated, along with Jackson’s secret weapon. \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a secret that the card up Jackson’s sleeve, so to speak, was a special shoe \u003ca href=\"https://catalog.archives.gov/id/5742939\">patented under his name\u003c/a> way back in 1993.\u003c/p>\n\u003cp>“The triangular slot could engage a hitch member (a metallic peg, which emerged from the stage floor at just the right time), allowing the dancer to obtain the right amount of extra support to be able to lean forward beyond physiological limits,” the paper continues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So no — MJ’s shoe-hitch isn’t \u003cem>new\u003c/em> news, but, as the neurosurgeons elaborate, the mind-boggling feat could only occur with incredible core strength from the spinal and lower-limb muscles. So, basically: Don’t try this home, unless you have anti-gravity footwear and are totally jacked. \u003c/p>\n\u003cfigure id=\"attachment_13833171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe\" alt=\"Michael Jackson puts all of the pressure of his dance move on the Achilles tendon\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-520x293.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson puts all of the pressure of his dance move on the Achilles tendon \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Michael+Jackson%27s+Gravity-Defying+Lean+Continues+To+Fascinate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the quarter toss into the jukebox to the cue ball crushed into powder and blown into a baddie’s face to the moonwalk that lasts more than a blink of an eye, if you haven’t watched the video for \u003ca href=\"https://www.npr.org/artists/16782748/michael-jackson\">Michael Jackson\u003c/a>‘s “Smooth Criminal” in a while, it’s every bit as magic as you remember it. Jackson was always something of an illusionist, particularly when it came to his signature dance moves.\u003c/p>\n\u003cp>Three neurosurgeons (and admitted Jackson fans) from the Postgraduate Institute of Medical Education and Research in Chandigarh, India — Nishant S. Yagnick, Manjul Tripathi and Sandeep Mohindra — have revisited how the King of Pop achieved the 45-degree lean while keeping his spine straight, not just on video, but in live performances around the world.\u003c/p>\n\u003cp>“Several MJ fans, including the authors, have tried to copy this move and failed, often injuring themselves in their endeavors,” reads the \u003ca href=\"http://thejns.org/doi/full/10.3171/2018.2.SPINE171443\">paper published\u003c/a> in the \u003cem>Journal of Neurosurgery\u003c/em>. Trained dancers can lean forward a maximum of 25 to 30 degrees, but even then, it can put serious strain on the Achilles tendon.\u003c/p>\n\u003cfigure id=\"attachment_13833172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe\" alt=\"Michael Jackson's 45-degree tilt versus the rest of humanity illustrated, along with Jackson's secret weapon.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13833172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1200x900.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e-520x390.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figurea-c5805941ebcd5b9ea00ed6901e0a16d1a884e77e.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson’s 45-degree tilt versus the rest of humanity illustrated, along with Jackson’s secret weapon. \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not a secret that the card up Jackson’s sleeve, so to speak, was a special shoe \u003ca href=\"https://catalog.archives.gov/id/5742939\">patented under his name\u003c/a> way back in 1993.\u003c/p>\n\u003cp>“The triangular slot could engage a hitch member (a metallic peg, which emerged from the stage floor at just the right time), allowing the dancer to obtain the right amount of extra support to be able to lean forward beyond physiological limits,” the paper continues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So no — MJ’s shoe-hitch isn’t \u003cem>new\u003c/em> news, but, as the neurosurgeons elaborate, the mind-boggling feat could only occur with incredible core strength from the spinal and lower-limb muscles. So, basically: Don’t try this home, unless you have anti-gravity footwear and are totally jacked. \u003c/p>\n\u003cfigure id=\"attachment_13833171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe\" alt=\"Michael Jackson puts all of the pressure of his dance move on the Achilles tendon\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13833171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723-520x293.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/figureb_wide-3ee7f44c0873dd3b8c413d7a141fb1a76b8ab723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson puts all of the pressure of his dance move on the Achilles tendon \u003ccite>(Courtesy of Manjul Tripathi)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Michael+Jackson%27s+Gravity-Defying+Lean+Continues+To+Fascinate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz is Protest Music in Angela Davis, Anthony Brown Collaboration",
"headTitle": "Jazz is Protest Music in Angela Davis, Anthony Brown Collaboration | KQED",
"content": "\u003cp>The lyrics of the old spiritual “Down By the Riverside” offer a vision of pacifism as disarmament—a turn from matters martial to spiritual. But for the \u003ca href=\"http://www.sfiaf.org\">San Francisco International Arts Festival \u003c/a>(SFIAF), the riverside is a place to organize resistance.\u003c/p>\n\u003cp>Running May 25–June 4 at the Fort Mason Center for Arts & Culture, this year’s SFIAF celebrates the 50\u003csup>th\u003c/sup> anniversary of Martin Luther King, Jr.’s epochal speech \u003cstrong>“\u003c/strong>\u003ca href=\"http://www.americanrhetoric.com/speeches/mlkatimetobreaksilence.htm\">Beyond Vietnam—A Time to Break Silence\u003c/a>” at Manhattan’s Riverside Church. In denouncing U.S. foreign policy, King insisted that violence perpetrated abroad was as wounding as injustice at home, a stance that was controversial even within the civil rights movement.\u003c/p>\n\u003cp>The centerpiece of SFIAF, which has positioned itself firmly in the cultural frontline against the Trump administration, is \u003cem>Down by the Riverside: Requiem for a King\u003c/em>, a moving, multi-movement jazz suite drummer Anthony Brown scored for his \u003ca href=\"http://www.fifthstreammusic.org/aao/\">Asian American Orchestra\u003c/a> and the gospel vocal ensemble Voices of a Dream, with an original text written and performed by activist and scholar Angela Davis. Commissioned by \u003ca href=\"http://www.intermusicsf.org\">InterMusic SF\u003c/a> (known until recently as SF Friends of Chamber Music), \u003cem>Riverside\u003c/em>’s world premiere takes place \u003ca href=\"http://www.sfiaf.org/2018_anthony_brown_and_angela_davis\">May 26 at Cowell\u003c/a> \u003ca href=\"http://www.sfiaf.org/2018_anthony_brown_and_angela_davis\">Theater\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ss73h9eO0DI\u003c/p>\n\u003cp>In addition to the composition’s namesake spiritual and “Wade In the Water,” Brown drew from Afro-Cuban rhythms and various classical Asian forms for the new work. “It is a jazz-based piece, but I draw on a lot of grooves with really strong bass lines,” Brown says. “When I was listening to Martin Luther King’s speeches, I was also listening to Sly Stone at the same time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like most of Brown’s work in recent decades, \u003cem>Riverside\u003c/em> features East-meets-West instrumentation, with jazz horns and rhythm section seamlessly integrated with classical Asian instruments, spotlighting guest collaborator and traditional Vietnamese master \u003ca href=\"https://www.kqed.org/arts/11260223/van-anh-vo-transforms-a-refugees-odyssey-into-a-musical-performance\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ\u003c/a> on a zither-like instrument called the dan tranh.\u003c/p>\n\u003cp>“This was a convergence of so many different efforts and ideas,” Brown says, noting that, as the son of an African-American veteran and Japanese mother, he embodies the orchestra’s cultural co-mingling. “My father was a decorated combat veteran of two wars who spent 35 years in the Army. The only time I ever saw him cry was when he got the news of Martin Luther King, Jr.’s assassination.”\u003c/p>\n\u003cfigure id=\"attachment_13813391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813391\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--800x391.jpg\" alt=\"Anthony Brown's Asian American Orchestra\" width=\"800\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--800x391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--768x375.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--1020x498.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--1920x938.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--1180x577.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--960x469.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--240x117.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--375x183.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--520x254.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Brown’s Asian American Orchestra. \u003ccite>(Kathy Sloane/Asian American Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown has often explored politically charged subjects in his music. Saturday’s evening-length concert also features \u003cem>Go For Broke! \u003c/em>with \u003ca href=\"https://www.poetryfoundation.org/poets/janice-mirikitani\">poet Janice Mirikitani\u003c/a>, Brown’s 2017 salute to Nisei veterans. Brown composed it for the 75\u003csup>th\u003c/sup> anniversary of the Feb. 1942 \u003ca href=\"https://en.wikipedia.org/wiki/Executive_Order_9066\">Executive Order 9066\u003c/a>, which forced more than 120,000 people of Japanese ancestry into internment camps. But it was the Grammy Award-nominated Asian American Orchestra’s 2017 SFJAZZ Center performance that connected him with Angela Davis. She caught Brown’s reimagining of Max Roach’s \u003cem>We Insist! Freedom Now Suite\u003c/em> and hung out afterwards, and Brown mentioned the \u003cem>Riverside\u003c/em> commission.\u003c/p>\n\u003cp>“She said count me in,” he recalls. (KQED Arts reached out to Davis, who wasn’t available for an interview.)\u003c/p>\n\u003cp>Davis makes an ideal collaborator for Brown, not just as an activist and icon of the left, but as a scholar deeply engaged with African-American music. She’s written incisively about the role that music has played in black communities’ resilience, connecting the “laughing to keep from crying” aesthetic that runs from antebellum work songs to the blues in her book \u003cem>Blues Legacies and Black Feminism\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11600558\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11600558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg\" alt=\"Anthony Brown.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Brown. \u003ccite>(Kathy Sloane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown, who grew up idolizing Davis, came away from the collaboration buoyed by her resilience in the face of present-day political struggles. “She’s a larger-than-life figure and she’s not bitter whatsoever,” he says. “She’s still full of life and positive energy. But she doesn’t mince words about being really concerned about the direction of the country. She has such a grand, bird’s eye view on racism misogyny and violence. Her idea that is that if we’re not allowed to act on them in a violent way, the human race can survive as a species.”’\u003c/p>\n\u003cp>Brown’s performance doesn’t just mark the festival’s embrace of an explicitly political agenda. It represents the emergence of music as a major component of SFIAF. Launched in 2003 with a focus on dance and theater, the festival has increasingly incorporated musicians since returning to Fort Mason in 2015.\u003c/p>\n\u003cp>With Gallery 308 serving as an intimate, cabaret-style venue, SFIAF presents musicians from Mali, Pakistan, China, Spain, Argentina and Japan. Some of these artists also proudly position themselves as part of the resistance against Trump’s policies. But it’s Brown’s work with \u003cem>Down by the Riverside\u003c/em> that best captures the festival’s mission “in terms of what Dr. King was speaking about in ‘Beyond Vietnam,’” says SFIAF Director Andrew Wood.\u003c/p>\n\u003cp>“I can’t just talk about civil rights, I have to talk about cross-cultural organizing,” says Wood. “Anthony embodies that stance. He looks for these things that resonate with him and his bicultural-ness and brings talented people with him.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anthony Brown’s Asian American Orchestra, Angela Davis and Voices of a Dream perform at the San Francisco International Arts Festival on May 26. Details \u003ca href=\"http://www.sfiaf.org/2018_anthony_brown_and_angela_davis\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "'Down by the Riverside: Requiem for a King' is the centerpiece of this year's SF International Arts Festival, which centers on one of Martin Luther King, Jr.'s iconic speeches.",
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"title": "Jazz is Protest Music in Angela Davis, Anthony Brown Collaboration | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lyrics of the old spiritual “Down By the Riverside” offer a vision of pacifism as disarmament—a turn from matters martial to spiritual. But for the \u003ca href=\"http://www.sfiaf.org\">San Francisco International Arts Festival \u003c/a>(SFIAF), the riverside is a place to organize resistance.\u003c/p>\n\u003cp>Running May 25–June 4 at the Fort Mason Center for Arts & Culture, this year’s SFIAF celebrates the 50\u003csup>th\u003c/sup> anniversary of Martin Luther King, Jr.’s epochal speech \u003cstrong>“\u003c/strong>\u003ca href=\"http://www.americanrhetoric.com/speeches/mlkatimetobreaksilence.htm\">Beyond Vietnam—A Time to Break Silence\u003c/a>” at Manhattan’s Riverside Church. In denouncing U.S. foreign policy, King insisted that violence perpetrated abroad was as wounding as injustice at home, a stance that was controversial even within the civil rights movement.\u003c/p>\n\u003cp>The centerpiece of SFIAF, which has positioned itself firmly in the cultural frontline against the Trump administration, is \u003cem>Down by the Riverside: Requiem for a King\u003c/em>, a moving, multi-movement jazz suite drummer Anthony Brown scored for his \u003ca href=\"http://www.fifthstreammusic.org/aao/\">Asian American Orchestra\u003c/a> and the gospel vocal ensemble Voices of a Dream, with an original text written and performed by activist and scholar Angela Davis. Commissioned by \u003ca href=\"http://www.intermusicsf.org\">InterMusic SF\u003c/a> (known until recently as SF Friends of Chamber Music), \u003cem>Riverside\u003c/em>’s world premiere takes place \u003ca href=\"http://www.sfiaf.org/2018_anthony_brown_and_angela_davis\">May 26 at Cowell\u003c/a> \u003ca href=\"http://www.sfiaf.org/2018_anthony_brown_and_angela_davis\">Theater\u003c/a>.\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/ss73h9eO0DI'\n title='//www.youtube.com/embed/ss73h9eO0DI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In addition to the composition’s namesake spiritual and “Wade In the Water,” Brown drew from Afro-Cuban rhythms and various classical Asian forms for the new work. “It is a jazz-based piece, but I draw on a lot of grooves with really strong bass lines,” Brown says. “When I was listening to Martin Luther King’s speeches, I was also listening to Sly Stone at the same time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like most of Brown’s work in recent decades, \u003cem>Riverside\u003c/em> features East-meets-West instrumentation, with jazz horns and rhythm section seamlessly integrated with classical Asian instruments, spotlighting guest collaborator and traditional Vietnamese master \u003ca href=\"https://www.kqed.org/arts/11260223/van-anh-vo-transforms-a-refugees-odyssey-into-a-musical-performance\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ\u003c/a> on a zither-like instrument called the dan tranh.\u003c/p>\n\u003cp>“This was a convergence of so many different efforts and ideas,” Brown says, noting that, as the son of an African-American veteran and Japanese mother, he embodies the orchestra’s cultural co-mingling. “My father was a decorated combat veteran of two wars who spent 35 years in the Army. The only time I ever saw him cry was when he got the news of Martin Luther King, Jr.’s assassination.”\u003c/p>\n\u003cfigure id=\"attachment_13813391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813391\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--800x391.jpg\" alt=\"Anthony Brown's Asian American Orchestra\" width=\"800\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--800x391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--768x375.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--1020x498.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--1920x938.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--1180x577.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--960x469.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--240x117.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--375x183.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/4.-Anthony-Browns-Asian-American-Orchestra-by-Kathy-Sloane--520x254.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Brown’s Asian American Orchestra. \u003ccite>(Kathy Sloane/Asian American Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown has often explored politically charged subjects in his music. Saturday’s evening-length concert also features \u003cem>Go For Broke! \u003c/em>with \u003ca href=\"https://www.poetryfoundation.org/poets/janice-mirikitani\">poet Janice Mirikitani\u003c/a>, Brown’s 2017 salute to Nisei veterans. Brown composed it for the 75\u003csup>th\u003c/sup> anniversary of the Feb. 1942 \u003ca href=\"https://en.wikipedia.org/wiki/Executive_Order_9066\">Executive Order 9066\u003c/a>, which forced more than 120,000 people of Japanese ancestry into internment camps. But it was the Grammy Award-nominated Asian American Orchestra’s 2017 SFJAZZ Center performance that connected him with Angela Davis. She caught Brown’s reimagining of Max Roach’s \u003cem>We Insist! Freedom Now Suite\u003c/em> and hung out afterwards, and Brown mentioned the \u003cem>Riverside\u003c/em> commission.\u003c/p>\n\u003cp>“She said count me in,” he recalls. (KQED Arts reached out to Davis, who wasn’t available for an interview.)\u003c/p>\n\u003cp>Davis makes an ideal collaborator for Brown, not just as an activist and icon of the left, but as a scholar deeply engaged with African-American music. She’s written incisively about the role that music has played in black communities’ resilience, connecting the “laughing to keep from crying” aesthetic that runs from antebellum work songs to the blues in her book \u003cem>Blues Legacies and Black Feminism\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11600558\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11600558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg\" alt=\"Anthony Brown.\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/29.ANTHONY_BROWN_Photo-Kathy_Sloane-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Brown. \u003ccite>(Kathy Sloane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown, who grew up idolizing Davis, came away from the collaboration buoyed by her resilience in the face of present-day political struggles. “She’s a larger-than-life figure and she’s not bitter whatsoever,” he says. “She’s still full of life and positive energy. But she doesn’t mince words about being really concerned about the direction of the country. She has such a grand, bird’s eye view on racism misogyny and violence. Her idea that is that if we’re not allowed to act on them in a violent way, the human race can survive as a species.”’\u003c/p>\n\u003cp>Brown’s performance doesn’t just mark the festival’s embrace of an explicitly political agenda. It represents the emergence of music as a major component of SFIAF. Launched in 2003 with a focus on dance and theater, the festival has increasingly incorporated musicians since returning to Fort Mason in 2015.\u003c/p>\n\u003cp>With Gallery 308 serving as an intimate, cabaret-style venue, SFIAF presents musicians from Mali, Pakistan, China, Spain, Argentina and Japan. Some of these artists also proudly position themselves as part of the resistance against Trump’s policies. But it’s Brown’s work with \u003cem>Down by the Riverside\u003c/em> that best captures the festival’s mission “in terms of what Dr. King was speaking about in ‘Beyond Vietnam,’” says SFIAF Director Andrew Wood.\u003c/p>\n\u003cp>“I can’t just talk about civil rights, I have to talk about cross-cultural organizing,” says Wood. “Anthony embodies that stance. He looks for these things that resonate with him and his bicultural-ness and brings talented people with him.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anthony Brown’s Asian American Orchestra, Angela Davis and Voices of a Dream perform at the San Francisco International Arts Festival on May 26. Details \u003ca href=\"http://www.sfiaf.org/2018_anthony_brown_and_angela_davis\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Onstage at the Billboard Music Awards, Janet Jackson finally got her due.\u003c/p>\n\u003cp>In the 14 years since the “wardrobe malfunction” incident at the 2004 Super Bowl, \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener\">fans have drawn attention to the music industry’s blackball of Jackson\u003c/a> as a clear case of sexist double standards, considering that Justin Timberlake, who was actively involved in the incident, emerged unscathed. Meanwhile, a mix of racism, sexism and the abstinence-only cultural climate of the Bush era meant that the media dragged Jackson’s name through the mud, and the five-time Grammy winning artist receded from the spotlight.\u003c/p>\n\u003cp>Now, with the ongoing #TimesUp movement against gender inequality in the music industry, the moment is ripe for Jackson to have her long overdue comeback.\u003c/p>\n\u003cp>https://twitter.com/BBMAs/status/998386324699688966\u003c/p>\n\u003cp>Sunday at the Billboard Music Awards, Jackson became the first black female artist to receive the Icon Award, which honors an artist “whose body of work has made a profound influence over pop music on a global level.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We live at a glorious moment in history,” Jackson said as she accepted the award. “It’s a moment when at long last women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”\u003c/p>\n\u003cp>https://twitter.com/essencefest/status/998385619469414401\u003c/p>\n\u003cp>Jackson then delivered her first television performance in nine years—a powerful display of female solidarity, with dancers of diverse body types and ethnicities on the stage. “Nasty” particularly struck a chord, when the dancers fiercely assembled (got in formation?) along the steps of a pyramid with Jackson at the top. The song is a warning to disrespectful dudes, and the anti-Trump reclamation of the “nasty woman” epithet also came to mind as Jackson and the dancers stared boldly at the audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With this inspiring night and Jackson’s upcoming headlining set at \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in San Francisco this August, 2018 is proving to be her year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Onstage at the Billboard Music Awards, Janet Jackson finally got her due.\u003c/p>\n\u003cp>In the 14 years since the “wardrobe malfunction” incident at the 2004 Super Bowl, \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener\">fans have drawn attention to the music industry’s blackball of Jackson\u003c/a> as a clear case of sexist double standards, considering that Justin Timberlake, who was actively involved in the incident, emerged unscathed. Meanwhile, a mix of racism, sexism and the abstinence-only cultural climate of the Bush era meant that the media dragged Jackson’s name through the mud, and the five-time Grammy winning artist receded from the spotlight.\u003c/p>\n\u003cp>Now, with the ongoing #TimesUp movement against gender inequality in the music industry, the moment is ripe for Jackson to have her long overdue comeback.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We live at a glorious moment in history,” Jackson said as she accepted the award. “It’s a moment when at long last women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Jackson then delivered her first television performance in nine years—a powerful display of female solidarity, with dancers of diverse body types and ethnicities on the stage. “Nasty” particularly struck a chord, when the dancers fiercely assembled (got in formation?) along the steps of a pyramid with Jackson at the top. The song is a warning to disrespectful dudes, and the anti-Trump reclamation of the “nasty woman” epithet also came to mind as Jackson and the dancers stared boldly at the audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With this inspiring night and Jackson’s upcoming headlining set at \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in San Francisco this August, 2018 is proving to be her year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Indian Coachella' Comes to Mountain View",
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"content": "\u003cp>Promoters said the first-ever \u003ca href=\"https://gaanamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Gaana Music Festival\u003c/a> in Mountain View was supposed to be the Indian version of Coachella.\u003c/p>\n\u003cp>The two-day event at the Shoreline Amphitheatre, billed as the largest Indian music festival in the U.S. ever, delivered on all the festival standards: food trucks, pricey alcohol and corporate sponsorship.\u003c/p>\n\u003cp>\"This is the first time corporate America has supported an Indian festival in such a big way,\" said a spokeswoman for The Times of India Group, which presented the show.\u003c/p>\n\u003cp>She noted that Toyota, Cox and Kings, ICICI Bank NRI, McDonalds, Sling TV and State Farm were among the sponsors.\u003c/p>\n\u003cp>Beyond that, though, the Gaana Festival made the venue completely its own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of tank tops or flower crowns, some of the 13,000 fans at the Shoreline Amphitheater on the first night of the festival wore saris and bangles. Conversations jumped between English to Hindi to Telugu, sometimes mid-sentence. Work friends came together and daughters brought their mothers. Most of all, it was about love for Bollywood.\u003c/p>\n\u003cfigure id=\"attachment_11669515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669515 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg\" alt=\"The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My influences are Michael Jackson, Stevie Wonder, Earth Wind and Fire, Imagine Dragons, Snarky Puppy, Bruno Mars,” said funk-fusion artist Benny Dayal, “but we always try to keep it as Indian as possible.” He sings in Hindi but sometimes sprinkles his lyrics with English phrases.\u003c/p>\n\u003cp>Most of the 14 acts, including Dayal, have produced songs for Bollywood movie soundtracks. Performers like Dayal, Armaan Malik, Arijit Singh and Akriti Kakar -- considered some of the biggest stars of India -- flew all the way to California for the festival.\u003c/p>\n\u003cfigure id=\"attachment_11669518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669518 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg\" alt=\"Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.'\" width=\"800\" height=\"630\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-160x126.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1020x803.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1200x944.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-960x756.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-240x189.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-375x295.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"In American movies there’s less of a concept of background songs,” said Microsoft engineer and festival-goer Vatan Aggrawal. “In Indian culture each movie will have six or seven songs going on, and then people will be dancing or at least acting like they’re singing.”\u003c/p>\n\u003cp>Manu Singh brought his family to the show and said he especially wanted to see Mika Singh and Gippy Grewal. \"I have my cousins here, who've been raised here [in the United States]. So, everybody likes it,\" he said. Singh says the \"peppy beats\" of Indian music can appeal to anyone.\u003c/p>\n\u003cp>Silicon Valley, home to one of the largest Indian-American populations in the United States, was an ideal location for the festival's promoters, with many people like Aggrawal working in the surrounding tech offices (the Google campus is a block from the venue).\u003c/p>\n\u003cfigure id=\"attachment_11669519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669519 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg\" alt=\"Manu Singh (middle) of San José dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style. He says everybody can get into the "peppy beats" of Indian music.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1020x788.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1200x927.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1180x911.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-960x742.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-520x402.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manu Singh (middle) of San Jose dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style.' He says everybody can get into the \"peppy beats\" of Indian music. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event's eponymous sponsor is an Indian tech company, Gaana, a music streaming service like Spotify. Chinese tech giant Tencent recently \u003ca href=\"https://techcrunch.com/2018/02/27/gaana-raises-115m-led-by-tencent/\" target=\"_blank\" rel=\"noopener\">invested $115 million in the company.\u003c/a>\u003c/p>\n\u003cp>Musician Benny Dayal says streaming apps like Gaana have helped spread his music to American audiences.\u003c/p>\n\u003cp>“We all live on internet,\" Dayal said. \"That’s our planet right now. It’s not even the physical Earth that we live on.\" He expects to see the Gaana Music Festival become an annual event.\u003c/p>\n\u003cp>“It’s going to be like wildfire from the next year on, I pretty much know it. Everyone is going to be dying to perform at this festival.\"\u003c/p>\n\u003cfigure id=\"attachment_11669520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11669520\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg\" alt=\"Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who also preformed.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who preformed Sunday. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: A previous version of the article said Kavi Agrawal was the organizer of the event. For this event, she was the spokeswoman for the Times of India. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Promoters said the first-ever \u003ca href=\"https://gaanamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Gaana Music Festival\u003c/a> in Mountain View was supposed to be the Indian version of Coachella.\u003c/p>\n\u003cp>The two-day event at the Shoreline Amphitheatre, billed as the largest Indian music festival in the U.S. ever, delivered on all the festival standards: food trucks, pricey alcohol and corporate sponsorship.\u003c/p>\n\u003cp>\"This is the first time corporate America has supported an Indian festival in such a big way,\" said a spokeswoman for The Times of India Group, which presented the show.\u003c/p>\n\u003cp>She noted that Toyota, Cox and Kings, ICICI Bank NRI, McDonalds, Sling TV and State Farm were among the sponsors.\u003c/p>\n\u003cp>Beyond that, though, the Gaana Festival made the venue completely its own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead of tank tops or flower crowns, some of the 13,000 fans at the Shoreline Amphitheater on the first night of the festival wore saris and bangles. Conversations jumped between English to Hindi to Telugu, sometimes mid-sentence. Work friends came together and daughters brought their mothers. Most of all, it was about love for Bollywood.\u003c/p>\n\u003cfigure id=\"attachment_11669515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669515 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg\" alt=\"The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My influences are Michael Jackson, Stevie Wonder, Earth Wind and Fire, Imagine Dragons, Snarky Puppy, Bruno Mars,” said funk-fusion artist Benny Dayal, “but we always try to keep it as Indian as possible.” He sings in Hindi but sometimes sprinkles his lyrics with English phrases.\u003c/p>\n\u003cp>Most of the 14 acts, including Dayal, have produced songs for Bollywood movie soundtracks. Performers like Dayal, Armaan Malik, Arijit Singh and Akriti Kakar -- considered some of the biggest stars of India -- flew all the way to California for the festival.\u003c/p>\n\u003cfigure id=\"attachment_11669518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669518 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg\" alt=\"Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.'\" width=\"800\" height=\"630\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-160x126.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1020x803.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1200x944.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-960x756.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-240x189.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-375x295.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"In American movies there’s less of a concept of background songs,” said Microsoft engineer and festival-goer Vatan Aggrawal. “In Indian culture each movie will have six or seven songs going on, and then people will be dancing or at least acting like they’re singing.”\u003c/p>\n\u003cp>Manu Singh brought his family to the show and said he especially wanted to see Mika Singh and Gippy Grewal. \"I have my cousins here, who've been raised here [in the United States]. So, everybody likes it,\" he said. Singh says the \"peppy beats\" of Indian music can appeal to anyone.\u003c/p>\n\u003cp>Silicon Valley, home to one of the largest Indian-American populations in the United States, was an ideal location for the festival's promoters, with many people like Aggrawal working in the surrounding tech offices (the Google campus is a block from the venue).\u003c/p>\n\u003cfigure id=\"attachment_11669519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669519 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg\" alt=\"Manu Singh (middle) of San José dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style. He says everybody can get into the "peppy beats" of Indian music.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1020x788.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1200x927.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1180x911.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-960x742.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-520x402.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manu Singh (middle) of San Jose dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style.' He says everybody can get into the \"peppy beats\" of Indian music. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event's eponymous sponsor is an Indian tech company, Gaana, a music streaming service like Spotify. Chinese tech giant Tencent recently \u003ca href=\"https://techcrunch.com/2018/02/27/gaana-raises-115m-led-by-tencent/\" target=\"_blank\" rel=\"noopener\">invested $115 million in the company.\u003c/a>\u003c/p>\n\u003cp>Musician Benny Dayal says streaming apps like Gaana have helped spread his music to American audiences.\u003c/p>\n\u003cp>“We all live on internet,\" Dayal said. \"That’s our planet right now. It’s not even the physical Earth that we live on.\" He expects to see the Gaana Music Festival become an annual event.\u003c/p>\n\u003cp>“It’s going to be like wildfire from the next year on, I pretty much know it. Everyone is going to be dying to perform at this festival.\"\u003c/p>\n\u003cfigure id=\"attachment_11669520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11669520\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg\" alt=\"Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who also preformed.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who preformed Sunday. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: A previous version of the article said Kavi Agrawal was the organizer of the event. For this event, she was the spokeswoman for the Times of India. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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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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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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