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"content": "\u003cp>The Alliance for California Traditional Arts preserves cultural history in the state, providing grants to mentors and proteges preserving traditional crafts. The group preserves everything from Pomo basket weaving to Filipino-American storytelling, plus lots of musical traditions.\u003c/p>\n\u003cfigure id=\"attachment_13830474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/3_O%CC%88zden-O%CC%88ztoprak-and-Isik-Berfin-800x559.jpg\" alt=\"Özden Öztoprak Passes along Kurdish Alevi musical traditions to her daughter Isik Berfin\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1200x839.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1920x1342.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Özden Öztoprak\u003cbr>Passes along Kurdish Alevi musical traditions to her daughter Isik Berfin \u003ccite>(Kutay D. Kugay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the focus of a concert called \u003cem>The Sounds of California\u003c/em> at the Bayview Opera House on Sunday. The show features the duo Isik Berfin and her mother Özden Öztoprak, who sing the most haunting music from the Kurdish Sufi tradition. There’s also a dan tranh or Vietnamese zither ensemble from San Francisco’s Tenderloin led by Vân Ánh Võ, a genius on the instrument; La Familia Peña-Govea, who are a family of musicians that perform traditional Mexican songs with an activist Chicano perspective; and the Omnira Institute, a drumming ensemble that connects African-American experience with African spirituality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lg3yPyfEwOo\u003c/p>\n\u003cp>“We’re going to see examples of the transmission of cultural values,” says ACTA Program Manager Lily Kharrazi, who’s organizing the concert. “And sometimes that happens in song, and sometimes that happens with the food we eat. Even if you don’t understand what they are saying, the depth of feeling and the intention and intensity of this music really carries through.”\u003c/p>\n\u003cp>The performance is at The Bayview Opera House in San Francisco on Sunday, April 29. \u003ca href=\"https://www.eventbrite.com/e/sounds-of-california-in-bayview-with-the-alliance-for-ca-traditional-arts-tickets-44388475124\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LtYb4HzWeKg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Alliance for California Traditional Arts preserves cultural history in the state, providing grants to mentors and proteges preserving traditional crafts. The group preserves everything from Pomo basket weaving to Filipino-American storytelling, plus lots of musical traditions.\u003c/p>\n\u003cfigure id=\"attachment_13830474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830474\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/3_O%CC%88zden-O%CC%88ztoprak-and-Isik-Berfin-800x559.jpg\" alt=\"Özden Öztoprak Passes along Kurdish Alevi musical traditions to her daughter Isik Berfin\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1200x839.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1920x1342.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-1180x825.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-960x671.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/3_Özden-Öztoprak-and-Isik-Berfin.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Özden Öztoprak\u003cbr>Passes along Kurdish Alevi musical traditions to her daughter Isik Berfin \u003ccite>(Kutay D. Kugay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the focus of a concert called \u003cem>The Sounds of California\u003c/em> at the Bayview Opera House on Sunday. The show features the duo Isik Berfin and her mother Özden Öztoprak, who sing the most haunting music from the Kurdish Sufi tradition. There’s also a dan tranh or Vietnamese zither ensemble from San Francisco’s Tenderloin led by Vân Ánh Võ, a genius on the instrument; La Familia Peña-Govea, who are a family of musicians that perform traditional Mexican songs with an activist Chicano perspective; and the Omnira Institute, a drumming ensemble that connects African-American experience with African spirituality.\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/lg3yPyfEwOo'\n title='//www.youtube.com/embed/lg3yPyfEwOo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re going to see examples of the transmission of cultural values,” says ACTA Program Manager Lily Kharrazi, who’s organizing the concert. “And sometimes that happens in song, and sometimes that happens with the food we eat. Even if you don’t understand what they are saying, the depth of feeling and the intention and intensity of this music really carries through.”\u003c/p>\n\u003cp>The performance is at The Bayview Opera House in San Francisco on Sunday, April 29. \u003ca href=\"https://www.eventbrite.com/e/sounds-of-california-in-bayview-with-the-alliance-for-ca-traditional-arts-tickets-44388475124\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Before Pitchfork, Complex, Fader, and even Spin, there was Lee Hildebrand. The Bay Area music writer has covered jazz, R&B and blues music for nigh on four decades at nearly every paper one can name, including the \u003cem>East Bay Express\u003c/em>, which he helped found in 1978. \u003c/p>\n\u003cp>Now, the veteran writer is beset with health issues, and the musicians who he gave so much support to over the years give back with a jam-packed May 24 benefit fundraiser. Musicians include former Tower of Power vocalist Lenny Williams, jazz saxophone stalwart John Handy, Oakland legend Sugar Pie DeSanto, fusion drummer Norman Connors, local treasure Faye Carol, guitarist Calvin Keys and many others. \u003c/p>\n\u003cp>It’s all to raise funds for Hildebrand, who suffered a stroke late last year and can reportedly no longer write to earn a living. The celebration gets underway on Thursday, May 24, at Geoffrey’s Inner Circle in Oakland. \u003ca href=\"https://www.gofundme.com/bring-lee-hildebrand-home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Pitchfork, Complex, Fader, and even Spin, there was Lee Hildebrand. The Bay Area music writer has covered jazz, R&B and blues music for nigh on four decades at nearly every paper one can name, including the \u003cem>East Bay Express\u003c/em>, which he helped found in 1978. \u003c/p>\n\u003cp>Now, the veteran writer is beset with health issues, and the musicians who he gave so much support to over the years give back with a jam-packed May 24 benefit fundraiser. Musicians include former Tower of Power vocalist Lenny Williams, jazz saxophone stalwart John Handy, Oakland legend Sugar Pie DeSanto, fusion drummer Norman Connors, local treasure Faye Carol, guitarist Calvin Keys and many others. \u003c/p>\n\u003cp>It’s all to raise funds for Hildebrand, who suffered a stroke late last year and can reportedly no longer write to earn a living. The celebration gets underway on Thursday, May 24, at Geoffrey’s Inner Circle in Oakland. \u003ca href=\"https://www.gofundme.com/bring-lee-hildebrand-home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Francisco Conservatory Announces Major Expansion in Civic Center",
"headTitle": "San Francisco Conservatory Announces Major Expansion in Civic Center | KQED",
"content": "\u003cp>The \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> (SFCM), the region’s premiere advanced-training institution for classical and jazz musicians, unveiled plans for a major expansion on Wednesday after years of careful negotiations with the city and neighborhood residents.\u003c/p>\n\u003cp>SFCM purchased two adjacent buildings on Van Ness Avenue at Hayes Street in 2013 with the help of a wealthy donor, venture capitalist William K. Bowes. (The new building will be called the Ute and William K. Bowes, Jr. Center for Performing Arts.)\u003c/p>\n\u003cp>This summer, the school plans to demolish the two buildings to make way for a new $185 million, 12-story facility designed by San Francisco architecture firm \u003ca href=\"https://www.cavagnero.com/\" target=\"_blank\" rel=\"noopener\">Mark Cavagnero Associates\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13830303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/raoul-800x600.jpg\" alt=\"Longtime200 Van Ness resident Raoul Tuz\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime 200 Van Ness resident Raoul Tuz. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raoul Tuz, who has lived in one of the buildings’ 27 rent-stabilized apartments for years, embraces the impending upheaval because SFCM’s plans won’t lead to longtime residents’ displacement from their neighborhood.\u003c/p>\n\u003cp>“We’re going to move into a new building, a nicer place to live,” Tuz says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to concert halls, classrooms, a recording studio, conference facilities, a garden, a restaurant and housing for around 400 students, two floors of the new building will be reserved for tenants like Tuz — under the terms of their old lease.\u003c/p>\n\u003cp>“The rent control really helps,” Tuz says.\u003c/p>\n\u003cfigure id=\"attachment_13830304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SFCM-Hero-800x518.jpg\" alt=\"An exterior view of what the new complex will look like\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1200x776.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An exterior view of what the new complex will look like \u003ccite>(Photo: Courtesy San Francisco Conservatory of Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFCM is paying to relocate the residents to a building across the street during the renovations, as well as paying for them to move into the new digs when they’re ready.\u003c/p>\n\u003cp>SFCM president David Stull says it was hard to earn the trust of the residents at first. “The primary objection was, will the conservatory honor what it’s saying?” Stull says.\u003c/p>\n\u003cp>But Tuz says SFCM showed its commitment by organizing community meetings and overseeing the upkeep of his current building at 200 Van Ness, which is in a dilapidated state. Now, he says, he’s looking forward to living around young musicians.\u003c/p>\n\u003cfigure id=\"attachment_13830300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830300\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/jayden-800x600.jpg\" alt=\"Freshman jazz student Jayden Clark\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freshman jazz student Jayden Clark \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Tuz’s future neighbors could be Jayden Clark. The 19-year-old Australian is a freshman jazz student at SFCM on a full scholarship. Clark currently has a spot in a building the school leased temporarily at Mission and 9th Street.\u003c/p>\n\u003cp>He says studying in San Francisco would be out of the question without help with housing. “It just would be unfathomable,” Clark says. “Being an international student, it’s hard enough to get over here without any financial aid.”\u003c/p>\n\u003cp>Clark will be a senior when the new building opens in 2020. He’ll be paying around $1,500 a month to share a two bedroom apartment there.\u003c/p>\n\u003cp>With the average rent on a two bedroom apartment in San Francisco standing at around $4,500, SFCM’s development may make the school a more appealing prospect for many students who would otherwise consider studying in the city too expensive.\u003c/p>\n\u003cp>“If this is the school for you and you want this education, housing is not going to be the reason you can’t attend,” Stull says.\u003c/p>\n\u003cp>Clark adds: “I think it will just encourage a broader range of students.”\u003c/p>\n\u003cfigure id=\"attachment_13830305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/200-van-ness-800x600.jpg\" alt=\"The exterior of 200 Van Ness Ave. -- one of two buildings SCFM purchased in 2013.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of 200 Van Ness Ave. — one of two buildings SCFM purchased in 2013. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFCM’s plan may inspire other institutions to follow suit.\u003c/p>\n\u003cp>Melissa Smith, director of the MFA program at the \u003ca href=\"http://www.act-sf.org/home/conservatory/mfa_program.highResolutionDisplay.html?gclid=CjwKCAjwq_vWBRACEiwAEReprIUrP6_6lj5W1vxsPDgwxxaYK7vgAhgReTDgcxBXMnZ-meA-Z_R_ghoCNgQQAvD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, says she’s seen an increasing trend of students commuting from the East Bay rather than living in San Francisco.\u003c/p>\n\u003cp>ACT currently does not provide housing for its 37 graduate-level acting students. But Smith says her organization is starting to evaluate the possibility of buying a building for that purpose. “We’d love to be able to provide housing,” Smith says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So far, SFCM has raised $96 million towards its overall fundraising goal of $110 million for the project. The organization’s existing building at nearby 50 Oak Street will continue to be in use.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> (SFCM), the region’s premiere advanced-training institution for classical and jazz musicians, unveiled plans for a major expansion on Wednesday after years of careful negotiations with the city and neighborhood residents.\u003c/p>\n\u003cp>SFCM purchased two adjacent buildings on Van Ness Avenue at Hayes Street in 2013 with the help of a wealthy donor, venture capitalist William K. Bowes. (The new building will be called the Ute and William K. Bowes, Jr. Center for Performing Arts.)\u003c/p>\n\u003cp>This summer, the school plans to demolish the two buildings to make way for a new $185 million, 12-story facility designed by San Francisco architecture firm \u003ca href=\"https://www.cavagnero.com/\" target=\"_blank\" rel=\"noopener\">Mark Cavagnero Associates\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13830303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/raoul-800x600.jpg\" alt=\"Longtime200 Van Ness resident Raoul Tuz\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/raoul.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime 200 Van Ness resident Raoul Tuz. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raoul Tuz, who has lived in one of the buildings’ 27 rent-stabilized apartments for years, embraces the impending upheaval because SFCM’s plans won’t lead to longtime residents’ displacement from their neighborhood.\u003c/p>\n\u003cp>“We’re going to move into a new building, a nicer place to live,” Tuz says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to concert halls, classrooms, a recording studio, conference facilities, a garden, a restaurant and housing for around 400 students, two floors of the new building will be reserved for tenants like Tuz — under the terms of their old lease.\u003c/p>\n\u003cp>“The rent control really helps,” Tuz says.\u003c/p>\n\u003cfigure id=\"attachment_13830304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SFCM-Hero-800x518.jpg\" alt=\"An exterior view of what the new complex will look like\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1200x776.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SFCM-Hero.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An exterior view of what the new complex will look like \u003ccite>(Photo: Courtesy San Francisco Conservatory of Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFCM is paying to relocate the residents to a building across the street during the renovations, as well as paying for them to move into the new digs when they’re ready.\u003c/p>\n\u003cp>SFCM president David Stull says it was hard to earn the trust of the residents at first. “The primary objection was, will the conservatory honor what it’s saying?” Stull says.\u003c/p>\n\u003cp>But Tuz says SFCM showed its commitment by organizing community meetings and overseeing the upkeep of his current building at 200 Van Ness, which is in a dilapidated state. Now, he says, he’s looking forward to living around young musicians.\u003c/p>\n\u003cfigure id=\"attachment_13830300\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830300\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/jayden-800x600.jpg\" alt=\"Freshman jazz student Jayden Clark\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/jayden.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freshman jazz student Jayden Clark \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Tuz’s future neighbors could be Jayden Clark. The 19-year-old Australian is a freshman jazz student at SFCM on a full scholarship. Clark currently has a spot in a building the school leased temporarily at Mission and 9th Street.\u003c/p>\n\u003cp>He says studying in San Francisco would be out of the question without help with housing. “It just would be unfathomable,” Clark says. “Being an international student, it’s hard enough to get over here without any financial aid.”\u003c/p>\n\u003cp>Clark will be a senior when the new building opens in 2020. He’ll be paying around $1,500 a month to share a two bedroom apartment there.\u003c/p>\n\u003cp>With the average rent on a two bedroom apartment in San Francisco standing at around $4,500, SFCM’s development may make the school a more appealing prospect for many students who would otherwise consider studying in the city too expensive.\u003c/p>\n\u003cp>“If this is the school for you and you want this education, housing is not going to be the reason you can’t attend,” Stull says.\u003c/p>\n\u003cp>Clark adds: “I think it will just encourage a broader range of students.”\u003c/p>\n\u003cfigure id=\"attachment_13830305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/200-van-ness-800x600.jpg\" alt=\"The exterior of 200 Van Ness Ave. -- one of two buildings SCFM purchased in 2013.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/200-van-ness.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of 200 Van Ness Ave. — one of two buildings SCFM purchased in 2013. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFCM’s plan may inspire other institutions to follow suit.\u003c/p>\n\u003cp>Melissa Smith, director of the MFA program at the \u003ca href=\"http://www.act-sf.org/home/conservatory/mfa_program.highResolutionDisplay.html?gclid=CjwKCAjwq_vWBRACEiwAEReprIUrP6_6lj5W1vxsPDgwxxaYK7vgAhgReTDgcxBXMnZ-meA-Z_R_ghoCNgQQAvD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, says she’s seen an increasing trend of students commuting from the East Bay rather than living in San Francisco.\u003c/p>\n\u003cp>ACT currently does not provide housing for its 37 graduate-level acting students. But Smith says her organization is starting to evaluate the possibility of buying a building for that purpose. “We’d love to be able to provide housing,” Smith says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So far, SFCM has raised $96 million towards its overall fundraising goal of $110 million for the project. The organization’s existing building at nearby 50 Oak Street will continue to be in use.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rapper Meek Mill walked out of prison Tuesday after Pennsylvania’s highest court ordered him freed while he appeals decade-old gun and drug convictions.\u003c/p>\n\u003cp>Following a five-month campaign by his supporters to get him out, the state Supreme Court directed a Philadelphia judge who had jailed him to immediately issue an order releasing him on unsecured bail.\u003c/p>\n\u003cp>Mill was sentenced in Nov. to 2-4 years in prison for probation violations.\u003c/p>\n\u003cp>Television coverage showed him being taken from the prison by helicopter. Earlier, scores of people gathered outside the prison near Philadelphia in hopes of seeing him walk free.\u003c/p>\n\u003cp>A team of lawyers and public relations consultants had waged an all-out battle to get him freed, leveling fierce criticism at the judge as a stream of high-powered figures and celebrities visited him in jail outside Philadelphia, including actor Kevin Hart just hours before the Supreme Court ruling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mill issued a statement saying the past months had been “a nightmare,” and thanked his many supporters and visitors, who included Philadelphia Mayor Jim Kenney and New England Patriots owner Robert Kraft.\u003c/p>\n\u003cp>“Although I’m blessed to have the resources to fight this unjust situation, I understand that many people of color across the country don’t have that luxury and I plan to use my platform to shine a light on those issues,” Mill said.\u003c/p>\n\u003cp>He said he would now focus his attention on getting his convictions overturned, and that he looks forward to resuming his music career.\u003c/p>\n\u003cp>Earlier this month, in a major victory for Mill, prosecutors said they agreed with his lawyers that he should get a new trial because of questions raised about the arresting officer. The now-retired officer was among a list of police officers the prosecutor’s office has sought to keep off the witness stand in cases across the city because of credibility questions.\u003c/p>\n\u003cp>A spokesman for District Attorney Larry Krasner said late Tuesday that the Supreme Court’s decision on Meek Mill’s release was consistent with the position taken by their office.\u003c/p>\n\u003cp>Mill’s attorney, Joe Tacopina, thanked the high court.\u003c/p>\n\u003cp>“Meek was unjustly convicted and should not have spent a single day in jail,” Tacopina said.\u003c/p>\n\u003cp>In an opinion earlier this month, Judge Genece Brinkley, who sent Mill to prison for the probation violations, strongly defended herself against accusations by the defense she was waging a vendetta against the rapper. She said the court “has impartially and without prejudice presided over numerous proceedings in this matter since 2008.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Supreme Court denied a defense request to move the case to another judge, but said the presiding judge could opt to remove herself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mill issued a statement saying the past months had been “a nightmare,” and thanked his many supporters and visitors, who included Philadelphia Mayor Jim Kenney and New England Patriots owner Robert Kraft.\u003c/p>\n\u003cp>“Although I’m blessed to have the resources to fight this unjust situation, I understand that many people of color across the country don’t have that luxury and I plan to use my platform to shine a light on those issues,” Mill said.\u003c/p>\n\u003cp>He said he would now focus his attention on getting his convictions overturned, and that he looks forward to resuming his music career.\u003c/p>\n\u003cp>Earlier this month, in a major victory for Mill, prosecutors said they agreed with his lawyers that he should get a new trial because of questions raised about the arresting officer. The now-retired officer was among a list of police officers the prosecutor’s office has sought to keep off the witness stand in cases across the city because of credibility questions.\u003c/p>\n\u003cp>A spokesman for District Attorney Larry Krasner said late Tuesday that the Supreme Court’s decision on Meek Mill’s release was consistent with the position taken by their office.\u003c/p>\n\u003cp>Mill’s attorney, Joe Tacopina, thanked the high court.\u003c/p>\n\u003cp>“Meek was unjustly convicted and should not have spent a single day in jail,” Tacopina said.\u003c/p>\n\u003cp>In an opinion earlier this month, Judge Genece Brinkley, who sent Mill to prison for the probation violations, strongly defended herself against accusations by the defense she was waging a vendetta against the rapper. She said the court “has impartially and without prejudice presided over numerous proceedings in this matter since 2008.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Supreme Court denied a defense request to move the case to another judge, but said the presiding judge could opt to remove herself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bob Dorough, Jazz Musician Best Known for 'Schoolhouse Rock!,' Dead at 94",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated at 12:33 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Bob Dorough, whose career began as a composer, arranger and singer in the booming New York jazz scene of the ’50s and ’60s before he became the musical keystone of \u003cem>Schoolhouse Rock!\u003c/em>, died Monday afternoon in Mt. Bethel, Penn., his wife, Sally Shanley Dorough, confirmed to NPR. He was 94.\u003c/p>\n\u003cp>The Arkansas-born, Texas-raised Dorough began working in music in the army, serving as a composer, arranger and player in the Special Services Army Band between 1943 and ’45, before getting a Bachelor of Music degree from the University of North Texas. In the late ’40s, Dorough made his way to New York, working there as a pianist and singer.\u003c/p>\n\u003cp>He released his debut album, \u003cem>Devil May Care\u003c/em>, in 1956 on Gus Wildi’s Bethlehem label, also home to Nina Simone’s first album. \u003cem>Devil May Care\u003c/em> was a document of loungey bebop, with Dorough’s windy, charming and idiosyncratically accented singing of buoyant lyrics that hinted at his success to come. “In a dream / the strangest and oddest things / appear / and what insane insane and silly things / we do,” he sang on “I Had the Craziest Dream.”\u003c/p>\n\u003cp>Not long after the release of \u003cem>Devil May Care\u003c/em>, the legendary Miles Davis recorded \u003ca href=\"https://open.spotify.com/track/31YlcTTs1XGGz2VCjD4JQ6?si=tvSQgQwpTvaOGPM5HkbOyw\" target=\"_blank\" rel=\"noopener\">his own interpretation\u003c/a> of its title track, which would go on to become a jazz standard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LdZTKvNXxPA\u003c/p>\n\u003cp>Dorough collaborated with Davis on the serrated holiday song “Blue Xmas (To Whom It May Concern)” and later sang on “Nothing Like You,” the closing track of Davis’ 1967 album \u003cem>Sorcerer. \u003c/em>As critic Ben Ratliff \u003ca href=\"http://www.vinylmeplease.com/magazine/sorcerer-liner-notes/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> in notes accompanying a vinyl reissue of \u003cem>Sorcerer\u003c/em> last fall: “The trumpeter Leron Thomas recently told me that he thinks of it as Miles’s version of a Looney Tunes move: ‘That’s All, Folks.’ ”\u003c/p>\n\u003cp>Then, in 1971, with the jazz money running thin, Dorough was asked by his boss at the advertising company where he had a day job to set the multiplication tables to music; his boss cited his children’s ability to remember Hendrix and Rolling Stones lyrics, but not their school lessons.\u003c/p>\n\u003cp>“I got the idea that three is a magic number,” Dorough told NPR’s Rachel Martin \u003ca href=\"https://www.npr.org/2013/01/06/168699556/the-voice-of-schoolhouse-rock-on-the-series-at-40\" target=\"_blank\" rel=\"noopener\">in 2013\u003c/a>. “Then I looked in the magic book and sure enough, three \u003cem>is\u003c/em> one of the magic numbers.” That concept became the song “Three Is a Magic Number” and the project would become the Grammy-nominated \u003cem>Multiplication Rock\u003c/em>. Originally intended as a school workbook, the concept was pitched and sold to ABC executive Michael Eisner, becoming the first of the long-running \u003cem>Schoolhouse Rock! \u003c/em>series of educational cartoons that became an all-but inseparable part of of ’70s and ’80s childhood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2cjiP1mh48\u003c/p>\n\u003cp>After the fully Dorough-penned \u003cem>Multiplication Rock\u003c/em>, the series’ contributors expanded to include Lynn Ahrens, Dave Frishberg (writer of “I’m Just a Bill”) and George Newall, with Dorough staying on as musical director. Expanding to cover grammar — Dorough’s least-favorite subject to pen music on — American politics and history and science, the initial series ran for 12 years and was revived in the ’90s.\u003c/p>\n\u003cp>The tribute album \u003cem>Schoolhouse Rock! Rocks\u003c/em>, recorded by indie artists that had no doubt grown up watching the series, was released in 1996. It featured reinterpretations of the now-famous tunes, including Dorough compositions “Conjunction Junction” (Better Than Ezra), “Three Is a Magic Number” (Blind Melon), “Electricity, Electricity” (Goodness) and “Lolly, Lolly, Lolly, Get Your Adverbs Here” (Buffalo Tom).\u003c/p>\n\u003cp>Later in life, Dorough became a mentor to the British-American singer, actress and comedian Nellie McKay, whom he first met in 1997, McKay tells NPR. “He was leaving Professor Pat Dorian’s office at East Stroudsburg University — even in an academic setting, he glowed with health and good cheer, spreading sunshine wherever he went,” McKay says. “Lou Reed’s idea of hell would be to sit in heaven with Bob Dorough,” McKay says, referencing the famously cantankerous New York rocker.\u003c/p>\n\u003cp>Dorough himself continued to play live for the rest of his life — at 92, Dorough performed “Devil May Care” for member station WBGO — and as recently as three weeks ago in upstate New York. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n7kKSSjGJZ8\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=Bob+Dorough%2C+Jazz+Musician+Best+Known+For+%27Schoolhouse+Rock%21%2C%27+Dead+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated at 12:33 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Bob Dorough, whose career began as a composer, arranger and singer in the booming New York jazz scene of the ’50s and ’60s before he became the musical keystone of \u003cem>Schoolhouse Rock!\u003c/em>, died Monday afternoon in Mt. Bethel, Penn., his wife, Sally Shanley Dorough, confirmed to NPR. He was 94.\u003c/p>\n\u003cp>The Arkansas-born, Texas-raised Dorough began working in music in the army, serving as a composer, arranger and player in the Special Services Army Band between 1943 and ’45, before getting a Bachelor of Music degree from the University of North Texas. In the late ’40s, Dorough made his way to New York, working there as a pianist and singer.\u003c/p>\n\u003cp>He released his debut album, \u003cem>Devil May Care\u003c/em>, in 1956 on Gus Wildi’s Bethlehem label, also home to Nina Simone’s first album. \u003cem>Devil May Care\u003c/em> was a document of loungey bebop, with Dorough’s windy, charming and idiosyncratically accented singing of buoyant lyrics that hinted at his success to come. “In a dream / the strangest and oddest things / appear / and what insane insane and silly things / we do,” he sang on “I Had the Craziest Dream.”\u003c/p>\n\u003cp>Not long after the release of \u003cem>Devil May Care\u003c/em>, the legendary Miles Davis recorded \u003ca href=\"https://open.spotify.com/track/31YlcTTs1XGGz2VCjD4JQ6?si=tvSQgQwpTvaOGPM5HkbOyw\" target=\"_blank\" rel=\"noopener\">his own interpretation\u003c/a> of its title track, which would go on to become a jazz standard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LdZTKvNXxPA'\n title='//www.youtube.com/embed/LdZTKvNXxPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dorough collaborated with Davis on the serrated holiday song “Blue Xmas (To Whom It May Concern)” and later sang on “Nothing Like You,” the closing track of Davis’ 1967 album \u003cem>Sorcerer. \u003c/em>As critic Ben Ratliff \u003ca href=\"http://www.vinylmeplease.com/magazine/sorcerer-liner-notes/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> in notes accompanying a vinyl reissue of \u003cem>Sorcerer\u003c/em> last fall: “The trumpeter Leron Thomas recently told me that he thinks of it as Miles’s version of a Looney Tunes move: ‘That’s All, Folks.’ ”\u003c/p>\n\u003cp>Then, in 1971, with the jazz money running thin, Dorough was asked by his boss at the advertising company where he had a day job to set the multiplication tables to music; his boss cited his children’s ability to remember Hendrix and Rolling Stones lyrics, but not their school lessons.\u003c/p>\n\u003cp>“I got the idea that three is a magic number,” Dorough told NPR’s Rachel Martin \u003ca href=\"https://www.npr.org/2013/01/06/168699556/the-voice-of-schoolhouse-rock-on-the-series-at-40\" target=\"_blank\" rel=\"noopener\">in 2013\u003c/a>. “Then I looked in the magic book and sure enough, three \u003cem>is\u003c/em> one of the magic numbers.” That concept became the song “Three Is a Magic Number” and the project would become the Grammy-nominated \u003cem>Multiplication Rock\u003c/em>. Originally intended as a school workbook, the concept was pitched and sold to ABC executive Michael Eisner, becoming the first of the long-running \u003cem>Schoolhouse Rock! \u003c/em>series of educational cartoons that became an all-but inseparable part of of ’70s and ’80s childhood.\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/n2cjiP1mh48'\n title='//www.youtube.com/embed/n2cjiP1mh48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the fully Dorough-penned \u003cem>Multiplication Rock\u003c/em>, the series’ contributors expanded to include Lynn Ahrens, Dave Frishberg (writer of “I’m Just a Bill”) and George Newall, with Dorough staying on as musical director. Expanding to cover grammar — Dorough’s least-favorite subject to pen music on — American politics and history and science, the initial series ran for 12 years and was revived in the ’90s.\u003c/p>\n\u003cp>The tribute album \u003cem>Schoolhouse Rock! Rocks\u003c/em>, recorded by indie artists that had no doubt grown up watching the series, was released in 1996. It featured reinterpretations of the now-famous tunes, including Dorough compositions “Conjunction Junction” (Better Than Ezra), “Three Is a Magic Number” (Blind Melon), “Electricity, Electricity” (Goodness) and “Lolly, Lolly, Lolly, Get Your Adverbs Here” (Buffalo Tom).\u003c/p>\n\u003cp>Later in life, Dorough became a mentor to the British-American singer, actress and comedian Nellie McKay, whom he first met in 1997, McKay tells NPR. “He was leaving Professor Pat Dorian’s office at East Stroudsburg University — even in an academic setting, he glowed with health and good cheer, spreading sunshine wherever he went,” McKay says. “Lou Reed’s idea of hell would be to sit in heaven with Bob Dorough,” McKay says, referencing the famously cantankerous New York rocker.\u003c/p>\n\u003cp>Dorough himself continued to play live for the rest of his life — at 92, Dorough performed “Devil May Care” for member station WBGO — and as recently as three weeks ago in upstate New York. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n7kKSSjGJZ8'\n title='//www.youtube.com/embed/n7kKSSjGJZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+Dorough%2C+Jazz+Musician+Best+Known+For+%27Schoolhouse+Rock%21%2C%27+Dead+At+94&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a kid growing up on Staten Island, RZA became obsessed with martial arts films, in part because they represented a struggle against oppression he didn’t yet realize existed outside of black America. Classics like \u003cem>The 36th Chamber of Shao Lin \u003c/em>awakened his nascent political consciousness, and samples from it and other films lend Wu-Tang Clan’s music an air of militancy and brotherhood.\u003c/p>\n\u003cp>That early obsession with martial arts films continues to be a guiding force in RZA’s work: His latest collection for his clothing brand, 36 Chambers, had its \u003ca href=\"https://www.kqed.org/arts/13809267\" target=\"_blank\" rel=\"noopener\">debut at San Francisco’s Asian Art Museum\u003c/a> last fall. And now, RZA returns to the Bay Area to perform a live soundtrack for a special screening of \u003cem>The 36th Chamber of Shao Lin.\u003c/em>\u003c/p>\n\u003cp>For the new score, RZA will draw on Wu-Tang Clan’s nearly 30-year catalog, programming beats live throughout the film’s 115-minute run time. It’s happening at the Castro Theatre on Apr. 26, and there are still \u003ca href=\"https://www.eventbrite.com/e/rza-live-from-the-36th-chamber-the-castro-theatre-sf-tickets-44005973050\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> on sale.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We at KQED Arts often say that Kronos Quartet puts on more inventive programming than we can possibly cover — but this year’s Kronos Festival deserves a special mention.\u003c/p>\n\u003cp>The long-running San Francisco quartet constantly commissions ambitious collaborations, spotlighting outstanding composers who typically don’t get much shine in the white- and male-dominated classical music world. Fittingly, this year’s Kronos Festival prioritizes genre-bending, unexpected sounds while delving into the social issues of our time.\u003c/p>\n\u003cp>Taking place Apr. 26–28 at \u003ca href=\"https://www.sfjazz.org/calendar/?month=4.2018\" target=\"_blank\" rel=\"noopener\">SFJAZZ’s Miner Auditorium\u003c/a>, Kronos Festival kicks off with a collaboration with indie duo CocoRosie, two sisters who rose to cult status in the 2000s freak-folk scene with their hypnotic pop tunes, which utilize toys and found objects as musical instruments. After a joint performance with CocoRosie, Kronos Quartet performs John White’s \u003cem>Drinking and Hooting Machine\u003c/em>, a piece where players blow air over bottles of liquid, changing the pitch by taking sips of whatever the drink may be.\u003c/p>\n\u003cp>Also on Thursday night, Kronos Quartet performs \u003cem>Charleston\u003c/em> by late saxophonist \u003ca href=\"https://www.kqed.org/arts/13817643/ralph-carney-dies-at-61-saxophonist-composer-tom-waits-collaborator\" target=\"_blank\" rel=\"noopener\">Ralph Carney\u003c/a>, which he wrote in homage to victims of the Charleston church massacre. Kronos will also play the piece that Carney says he was thinking of when he wrote \u003cem>Charleston\u003c/em>: John Coltrane’s “Alabama,” about a Birmingham church bombing at the hands of the KKK.\u003c/p>\n\u003cp>The festival continues on Friday, Apr. 27, when Kronos performs works by a variety of composers, including Philip Glass, “post-Mexican” experimentalist Guillermo Galindo, and folk-country singer Jolie Holland; the latter two are premiering new works at the festival. Kronos closes the night with a joint performances with Malian group Trio Da Kali.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/wK233t4Z0lg\u003c/p>\n\u003cp>Saturday, Apr. 28, is the Kronos Festival’s most ambitious day of programming, starting a family concert at 11am. Amaranth Quartet then performs works from Kronos’ Fifty for Future project, which commissions works from diverse, international composers.\u003c/p>\n\u003cp>Experimental composer and multi-instrumentalist David Coulter (who has worked with a wide variety of A-listers, including Tom Waits and Gorillaz) performs an improvisational set. And finally, Kronos closes out the festival on Saturday evening with a night of music by various composers, including spellbinding Vietnamese multi-instrumentalist Vân-Ánh Võ and Oakland’s \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Zachary James Watkins\u003c/a>, whose Kronos-commissioned work \u003cem>Peace Be Till\u003c/em> zeroes in on a defining yet unexpected moment behind the scenes of Martin Luther King, Jr.’s famous “I Have a Dream” speech.\u003c/p>\n\u003cp>For more information and tickets for the Kronos Festival, click \u003ca href=\"https://www.sfjazz.org/calendar/?month=4.2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cp>https://youtu.be/nk8HEO_60ms\u003c/p>\n\u003cp>Nearly 5,000 entries from all 50 states and we had to pick just one! The competition rose to a new level this year and the decision was harder than ever. Our judges looked at a vast array of music from every genre — and lots of music that couldn’t be categorized. The creative community these days is bursting, and the diversity of sounds and people who sent us entries made for many magical “wow” moments.\u003c/p>\n\u003cp>So, when it came time to pick a winner, we have to admit: It was tough. We debated, deliberated, championed and celebrated the entries that impressed us. In the end, it was a soft-spoken, soulful guitarist who captured our hearts. We’re proud to announce this year’s Tiny Desk Contest winner is Naia Izumi!\u003c/p>\n\u003cp>Naia is a 34-year-old musician from Georgia who regularly busks on the streets of Los Angeles, where he now lives. He impressed the judges with his intricate, complex guitar playing and his sweet, emotive voice. The video he submitted for “Soft Spoken,” recorded in the home studio he has built in his garage, showcases the incredible skillfulness and gentle spirit he brings to his music.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/people/497701550/talia-schlanger\">Talia Schlanger\u003c/a>, host of WXPN’s \u003cem>World Cafe\u003c/em>, said it this way: “The fact that Naia Izumi’s solo performance captivated the judging panel, out of a sea of big bands and flashy videos, says something powerful about what a singular talent we have on our hands. Naia’s remarkable creativity on the guitar, solid songwriting and gentle yet powerful charisma make me proud to root for him as our winner!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/97823646/gaby-moreno\">Gaby Moreno\u003c/a>, another of our Tiny Desk Contest judges, agrees, calling Naia an “undeniable talent.”\u003c/p>\n\u003cp>“I was captivated by Naia’s soulful voice, and the way he takes the unique approach to his virtuosic level of talent on guitar,” she says.\u003c/p>\n\u003cp>In the fourth year of the Contest, we were simply overwhelmed by the energy, spirit and enthusiasm artists brought to their entry videos. And though there’s only one winner, what makes this Contest special is the way it gathers a community of artists, fans and friends together around a shared love of music. We’re so grateful to everyone who shared a song, a story or a moment with us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of this year’s Tiny Desk Contest doesn’t end now that we’ve picked a winner, of course. Next, Naia will come to Washington, D.C. to play his very own Tiny Desk concert. Then, we’ll head out on the road with Lagunitas Brewing Company for a national tour featuring Naia and local Contest entrants we loved. Stay tuned for dates and more information. We’re looking forward to seeing you in person. I’ll be spending some time celebrating the newest member of the Tiny Desk Contest family, and getting lost down the rabbit hole of all sorts of \u003ca href=\"http://tinydeskcontest.npr.org/browse-2018\">amazing entries\u003c/a> to this year’s Contest. I hope this Contest has brought you the joy of discovery like it has done for me.\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=Announcing+The+2018+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/97823646/gaby-moreno\">Gaby Moreno\u003c/a>, another of our Tiny Desk Contest judges, agrees, calling Naia an “undeniable talent.”\u003c/p>\n\u003cp>“I was captivated by Naia’s soulful voice, and the way he takes the unique approach to his virtuosic level of talent on guitar,” she says.\u003c/p>\n\u003cp>In the fourth year of the Contest, we were simply overwhelmed by the energy, spirit and enthusiasm artists brought to their entry videos. And though there’s only one winner, what makes this Contest special is the way it gathers a community of artists, fans and friends together around a shared love of music. We’re so grateful to everyone who shared a song, a story or a moment with us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of this year’s Tiny Desk Contest doesn’t end now that we’ve picked a winner, of course. Next, Naia will come to Washington, D.C. to play his very own Tiny Desk concert. Then, we’ll head out on the road with Lagunitas Brewing Company for a national tour featuring Naia and local Contest entrants we loved. Stay tuned for dates and more information. We’re looking forward to seeing you in person. I’ll be spending some time celebrating the newest member of the Tiny Desk Contest family, and getting lost down the rabbit hole of all sorts of \u003ca href=\"http://tinydeskcontest.npr.org/browse-2018\">amazing entries\u003c/a> to this year’s Contest. I hope this Contest has brought you the joy of discovery like it has done for me.\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=Announcing+The+2018+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After dominating the basketball court for years, Steph Curry just made a 3-pointer in the world of entertainment. \u003c/p>\n\u003cp>The 30-year-old point guard who led the Golden State Warriors to two NBA championships recently started a production company called Unanimous Media — a reference to the unanimous decision to make him NBA Most Valuable Player in 2016. On Monday, \u003ca href=\"https://www.hollywoodreporter.com/news/nba-star-stephen-curry-scores-film-tv-pact-sony-1104927\" rel=\"noopener\" target=\"_blank\">\u003ci>The Hollywood Reporter\u003c/i> reported\u003c/a> that Unanimous signed a multi-year development deal with Sony Entertainment.\u003c/p>\n\u003cp>Unanimous plans to produce a range of family-friendly and faith-based content for film and television, as well as some sports-focused media. Per the agreement, Sony will get first look at any potential projects, including those in electronics, gaming and virtual reality. \u003c/p>\n\u003cp>“I’ve been blessed to have this platform and I want to use it to affect the world positively,” Curry told \u003cem>The Hollywood Reporter\u003c/em>. \u003c/p>\n\u003cp>It’s unclear how much the deal is worth, but it comes not long after Curry signed his newest contract with the Warriors that pays $201 million over five years — the NBA’s richest deal and the biggest sports contract outside of baseball. That’s on top of the $35 million he receives \u003ca href=\"https://www.forbes.com/sites/kurtbadenhausen/2017/07/01/stephen-curry-to-sign-richest-contract-in-nba-history-worth-201-million/#518562a2357e\" rel=\"noopener\" target=\"_blank\">annually from endorsement deals\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more details on Curry’s deal, visit \u003ca href=\"https://www.hollywoodreporter.com/news/nba-star-stephen-curry-scores-film-tv-pact-sony-1104927\" rel=\"noopener\" target=\"_blank\">\u003cem>The Hollywood Reporter\u003c/em>.\u003c/a>\u003c/p>\n\n",
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"title": "With Brutal Honesty, Oakland's ALLBLACK Reaches Toward Peace",
"headTitle": "With Brutal Honesty, Oakland’s ALLBLACK Reaches Toward Peace | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was a wet afternoon, one where you could hear the rain pounding the tin roof that covers the seating area for the Sinaloa Taco trucks. ALLBLACK, the rising rap artist, breathed in a sigh of relief.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“I just like the smell of the rain and all that. I dress for the winter anyway,” he said as he sat across from me, with his tattooed face, bullring nose piercing and no jacket — only a fresh white corner store issued T-shirt. “The rain is peace.”\u003c/p>\n\u003cp>At that moment, I realized ALLBLACK, given name D’Andre Sams, was a different kind of dude.\u003c/p>\n\u003cp>I mean, I already knew he was popular. I could tell from constantly hearing his music coming out of cars passing by in the streets, from the \u003ca href=\"https://www.youtube.com/results?search_query=%22allblack%22&sp=CAM%253D\" target=\"_blank\" rel=\"noopener noreferrer\">amount of plays\u003c/a> his songs have online, and the fact that some guy named Marshawn Lynch gave him a \u003ca href=\"https://twitter.com/moneylynch/status/982477779575848960?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">shoutout on Twitter\u003c/a>. Oh, and there’s also the viral video of ALLBLACK verbally smashing on someone \u003ca href=\"https://www.youtube.com/watch?v=V2nzYYbrhiU\" target=\"_blank\" rel=\"noopener noreferrer\">driving around Oakland with a noose hanging in the backseat\u003c/a> of their car.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But what really spoke to me was \u003ca href=\"https://www.instagram.com/p/BhBEVylBBwU/\" target=\"_blank\" rel=\"noopener noreferrer\">this video\u003c/a> on ALLBLACK’s Instagram, in which a crowd chock-full of hyped teenage girls recite ALLBLACK’s lyrics verbatim, at the top of their lungs.\u003c/p>\n\u003cp>“The girls going crazy in the front row, that was my little sisters, all of ‘em. I don’t even know them, but that’s my little sisters,” said ALLBLACK. “It was beautiful to see that I could move children like that. And my music spoke to them in their own way. I ain’t never felt like that, ever!”\u003c/p>\n\u003cp>I doubled back and asked why he thought his music reached them. “I wish I had a saucy-ass answer,” he said, “but I really don’t know.”\u003c/p>\n\u003cp>But in talking to him at Sinaloa, I think I got an idea of why his music is so appealing.\u003c/p>\n\u003cfigure id=\"attachment_13830219\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg\" alt=\"ALLBLACK reunites with a childhood brother.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK with a friend in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK isn’t bashful about living and speaking his truth. And given his subject matter, it’s useful to have prime insight into the “diary,” as he calls it, of a young man who loves his mother and daughter, and also has clearly been around pimp culture. It might seem contradictory to some to have one project named \u003cem>KimsSon\u003c/em>, honoring his mother, and his latest project called \u003cem>Outcalls\u003c/em>, a nod to the oldest profession. But the way he raps candidly about it all is what makes people feel his songs.\u003c/p>\n\u003cp>His music is uptempo, almost aggressive. Not hyphy music by far, and actually more mobb music, a genre which preceded hyphy era here in The Bay. When I asked who his musical influences are, his answers further proved my theory that he is indeed a different kind of dude: “I’ll say Teddy Pendergrass, The Stylistics…”\u003c/p>\n\u003cp>I immediately cut him off. For real?! Why them? I asked. “Their music is peace,” he replied, and then kept going. “I really like the old Prince.” He said he could go on for days, naming artists like Kut Klose, whom I had never heard of. He got to the rappers: “Migos, Gucci, Wiz. I’m a big Wiz fan, like ’09 Wiz. Mixtape Wiz.” And then he mentioned some local artists, including \u003ca href=\"https://www.youtube.com/watch?v=47VQh1VLeeE\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Kossisko\" target=\"_blank\" rel=\"noopener noreferrer\">Kossisko\u003c/a>, used to go by 100s.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.\u003c/aside>\n\u003cp>Long before ALLBLACK was rapping, he was 100s hype man, and it was 100s who pushed him to rap about his life; put his diary on tracks.\u003c/p>\n\u003cp>It made sense. ALLBLACK was already cool with the leaders of the Bay’s newest wave of talent. He went to Pinole Valley for high school — “that’s where I met P-Lo, Iamsu!, Young Bari,” said ALLBLACK. “That’s the first time I heard of Rexx Life Raj.”\u003c/p>\n\u003cp>Even more importantly, he was already relatively well known. “I’ve been popular before music,” ALLBLACK said, just moments before a random guy walked up and interrupted our interview to take a photo with him.\u003c/p>\n\u003cp>He said he was known for dancing and skateboarding, with the nickname given to him by his family, Dusty — still how many people know him. And being “outside” is a major part of his program. “I been outside. I been in other people’s hoods showing love,” said ALLBLACK. “I don’t have problems with other people, I have problems with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13830218\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I chose not to pry further about the internal conflicts he faces. But I got a sense of it from the next question. Having a daughter, does it make you hold back, I asked, on some of the lyrics that might be seen as misogynistic?\u003c/p>\n\u003cp>“No, not at all. I mean what I say, like I said: this music is a diary. It’s not for a filter, for these people,” ALLBLACK said with the confidence of a seasoned orator. “When I write music, I don’t go and watch what I say. When you’re expressing yourself, do you filter what you’re going to say?”\u003c/p>\n\u003cp>(I do. In fact, I think many of us do. I let him keep talking.)\u003c/p>\n\u003cp>“Like I said, it’s my diary. I don’t regret anything I say. If I said it on wax, I know what I said. I’m not going to go back, like, oh we got to delete this,” ALLBLACK said.\u003c/p>\n\u003cp>Even with the context of Oakland and the issues of sex trafficking and all of that? I asked.\u003c/p>\n\u003cp>“Nope, I don’t take it back, because that’s my life,” said ALLBLACK. “I’m giving my views, I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.”\u003c/p>\n\u003cp>Damn. I can’t argue with that.\u003c/p>\n\u003cfigure id=\"attachment_13830217\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK speaks to the experience of many young people; an experience that doesn’t fit into a staunch dichotomy of good versus evil, one side or the other. It’s a worldview that was developed right here. You could take a fish taco from Sinaloa and toss it to the doorstep of the house where ALLBLACK was raised in East Oakland’s Rollin’ Twenties, a.k.a. “The Dubbs.”\u003c/p>\n\u003cp>He has childhood memories of his family housing an older Latino brother, who just happened to be at the taco truck during our conversation — the embrace during the reunion was heartwarming. He also has childhood memories of riding bikes on “The Blade,” or what is often called “The Hoe Stroll,” International Blvd., formerly E. 14th, and seeing the women working, getting a front-row seat to the lifestyle in his songs.\u003c/p>\n\u003cp>In the medical world, one of the hottest terms being tossed around is “\u003ca href=\"http://www.traumainformedcareproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">trauma-informed care\u003c/a>.” It’s about valuing the experience of the individual in order to find a solution to the issue. He’s providing that experience.\u003c/p>\n\u003cp>And in the real world, where we often filter ourselves, it’s appealing to have someone go on record and say what we’ve been thinking, feeling and living. He’s providing that experience.\u003c/p>\n\u003cp>Before I let ALLBLACK enjoy his burrito, I asked, years from now, what his legacy will be. His reply, “Peace.” Why peace? I responded.\u003c/p>\n\u003cp>“It’s comfort. Less worries. I can’t say, no worries. But if I’m all said and done, no regrets will be my legacy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was a wet afternoon, one where you could hear the rain pounding the tin roof that covers the seating area for the Sinaloa Taco trucks. ALLBLACK, the rising rap artist, breathed in a sigh of relief.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“I just like the smell of the rain and all that. I dress for the winter anyway,” he said as he sat across from me, with his tattooed face, bullring nose piercing and no jacket — only a fresh white corner store issued T-shirt. “The rain is peace.”\u003c/p>\n\u003cp>At that moment, I realized ALLBLACK, given name D’Andre Sams, was a different kind of dude.\u003c/p>\n\u003cp>I mean, I already knew he was popular. I could tell from constantly hearing his music coming out of cars passing by in the streets, from the \u003ca href=\"https://www.youtube.com/results?search_query=%22allblack%22&sp=CAM%253D\" target=\"_blank\" rel=\"noopener noreferrer\">amount of plays\u003c/a> his songs have online, and the fact that some guy named Marshawn Lynch gave him a \u003ca href=\"https://twitter.com/moneylynch/status/982477779575848960?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">shoutout on Twitter\u003c/a>. Oh, and there’s also the viral video of ALLBLACK verbally smashing on someone \u003ca href=\"https://www.youtube.com/watch?v=V2nzYYbrhiU\" target=\"_blank\" rel=\"noopener noreferrer\">driving around Oakland with a noose hanging in the backseat\u003c/a> of their car.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what really spoke to me was \u003ca href=\"https://www.instagram.com/p/BhBEVylBBwU/\" target=\"_blank\" rel=\"noopener noreferrer\">this video\u003c/a> on ALLBLACK’s Instagram, in which a crowd chock-full of hyped teenage girls recite ALLBLACK’s lyrics verbatim, at the top of their lungs.\u003c/p>\n\u003cp>“The girls going crazy in the front row, that was my little sisters, all of ‘em. I don’t even know them, but that’s my little sisters,” said ALLBLACK. “It was beautiful to see that I could move children like that. And my music spoke to them in their own way. I ain’t never felt like that, ever!”\u003c/p>\n\u003cp>I doubled back and asked why he thought his music reached them. “I wish I had a saucy-ass answer,” he said, “but I really don’t know.”\u003c/p>\n\u003cp>But in talking to him at Sinaloa, I think I got an idea of why his music is so appealing.\u003c/p>\n\u003cfigure id=\"attachment_13830219\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg\" alt=\"ALLBLACK reunites with a childhood brother.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK with a friend in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK isn’t bashful about living and speaking his truth. And given his subject matter, it’s useful to have prime insight into the “diary,” as he calls it, of a young man who loves his mother and daughter, and also has clearly been around pimp culture. It might seem contradictory to some to have one project named \u003cem>KimsSon\u003c/em>, honoring his mother, and his latest project called \u003cem>Outcalls\u003c/em>, a nod to the oldest profession. But the way he raps candidly about it all is what makes people feel his songs.\u003c/p>\n\u003cp>His music is uptempo, almost aggressive. Not hyphy music by far, and actually more mobb music, a genre which preceded hyphy era here in The Bay. When I asked who his musical influences are, his answers further proved my theory that he is indeed a different kind of dude: “I’ll say Teddy Pendergrass, The Stylistics…”\u003c/p>\n\u003cp>I immediately cut him off. For real?! Why them? I asked. “Their music is peace,” he replied, and then kept going. “I really like the old Prince.” He said he could go on for days, naming artists like Kut Klose, whom I had never heard of. He got to the rappers: “Migos, Gucci, Wiz. I’m a big Wiz fan, like ’09 Wiz. Mixtape Wiz.” And then he mentioned some local artists, including \u003ca href=\"https://www.youtube.com/watch?v=47VQh1VLeeE\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Kossisko\" target=\"_blank\" rel=\"noopener noreferrer\">Kossisko\u003c/a>, used to go by 100s.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.\u003c/aside>\n\u003cp>Long before ALLBLACK was rapping, he was 100s hype man, and it was 100s who pushed him to rap about his life; put his diary on tracks.\u003c/p>\n\u003cp>It made sense. ALLBLACK was already cool with the leaders of the Bay’s newest wave of talent. He went to Pinole Valley for high school — “that’s where I met P-Lo, Iamsu!, Young Bari,” said ALLBLACK. “That’s the first time I heard of Rexx Life Raj.”\u003c/p>\n\u003cp>Even more importantly, he was already relatively well known. “I’ve been popular before music,” ALLBLACK said, just moments before a random guy walked up and interrupted our interview to take a photo with him.\u003c/p>\n\u003cp>He said he was known for dancing and skateboarding, with the nickname given to him by his family, Dusty — still how many people know him. And being “outside” is a major part of his program. “I been outside. I been in other people’s hoods showing love,” said ALLBLACK. “I don’t have problems with other people, I have problems with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13830218\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I chose not to pry further about the internal conflicts he faces. But I got a sense of it from the next question. Having a daughter, does it make you hold back, I asked, on some of the lyrics that might be seen as misogynistic?\u003c/p>\n\u003cp>“No, not at all. I mean what I say, like I said: this music is a diary. It’s not for a filter, for these people,” ALLBLACK said with the confidence of a seasoned orator. “When I write music, I don’t go and watch what I say. When you’re expressing yourself, do you filter what you’re going to say?”\u003c/p>\n\u003cp>(I do. In fact, I think many of us do. I let him keep talking.)\u003c/p>\n\u003cp>“Like I said, it’s my diary. I don’t regret anything I say. If I said it on wax, I know what I said. I’m not going to go back, like, oh we got to delete this,” ALLBLACK said.\u003c/p>\n\u003cp>Even with the context of Oakland and the issues of sex trafficking and all of that? I asked.\u003c/p>\n\u003cp>“Nope, I don’t take it back, because that’s my life,” said ALLBLACK. “I’m giving my views, I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.”\u003c/p>\n\u003cp>Damn. I can’t argue with that.\u003c/p>\n\u003cfigure id=\"attachment_13830217\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK speaks to the experience of many young people; an experience that doesn’t fit into a staunch dichotomy of good versus evil, one side or the other. It’s a worldview that was developed right here. You could take a fish taco from Sinaloa and toss it to the doorstep of the house where ALLBLACK was raised in East Oakland’s Rollin’ Twenties, a.k.a. “The Dubbs.”\u003c/p>\n\u003cp>He has childhood memories of his family housing an older Latino brother, who just happened to be at the taco truck during our conversation — the embrace during the reunion was heartwarming. He also has childhood memories of riding bikes on “The Blade,” or what is often called “The Hoe Stroll,” International Blvd., formerly E. 14th, and seeing the women working, getting a front-row seat to the lifestyle in his songs.\u003c/p>\n\u003cp>In the medical world, one of the hottest terms being tossed around is “\u003ca href=\"http://www.traumainformedcareproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">trauma-informed care\u003c/a>.” It’s about valuing the experience of the individual in order to find a solution to the issue. He’s providing that experience.\u003c/p>\n\u003cp>And in the real world, where we often filter ourselves, it’s appealing to have someone go on record and say what we’ve been thinking, feeling and living. He’s providing that experience.\u003c/p>\n\u003cp>Before I let ALLBLACK enjoy his burrito, I asked, years from now, what his legacy will be. His reply, “Peace.” Why peace? I responded.\u003c/p>\n\u003cp>“It’s comfort. Less worries. I can’t say, no worries. But if I’m all said and done, no regrets will be my legacy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Donatella Moltisanti first discovered the therapeutic benefits of music three decades ago while studying opera at a music conservatory in Italy.\u003c/p>\n\u003cp>“As a teenager, I suffered from debilitating menstrual cramps that left me bedridden for several days each month,” says Moltisanti, a New York-based alternative wellness practitioner who calls herself a “soul healer.” “Medication provided no relief, but once I began singing opera, the pain dissipated.”\u003c/p>\n\u003cp>Whether it’s a lullaby that coaxes a crying baby to sleep or the sound of a harmonic harp to settle one’s anxiety, music has the power to soothe and heal us, and \u003ca href=\"http://www.positivehealth.com/article/sound-and-music/the-healing-power-of-sound\" target=\"_blank\" rel=\"noopener\">science\u003c/a> agrees. Now, Moltisanti is using singing and sound healing as a form of medicine to encourage others to forgive.\u003c/p>\n\u003cp>https://youtu.be/K472DtB9jGA\u003c/p>\n\u003cp>On Apr. 24, Moltisanti and her colleague \u003ca href=\"https://vpge.stanford.edu/people/fred-luskin\" target=\"_blank\" rel=\"noopener\">Dr. Fred Luskin\u003c/a>, director of the Stanford Forgiveness Project and author of \u003ca href=\"https://www.amazon.com/Forgive-Good-Proven-Prescription-Happiness/dp/006251721X\" target=\"_blank\" rel=\"noopener\">\u003cem>Forgive for Good\u003c/em>\u003c/a>, will give a joint program at Unity Church in Palo Alto. Luskin, who has worked with victims of violence in Northern Ireland, Sierra Leone, and the Sept. 11 attacks on the World Trade Center, will present his forgiveness research, followed by a sound healing program by Moltisanti. The event also celebrates the release of Moltisanti’s debut album, \u003cem>Moltisanti Soul Singing\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several \u003ca href=\"https://upliftconnect.com/health-benefits-of-music/\" target=\"_blank\" rel=\"noopener\">studies\u003c/a> show that singing, chanting, and humming can increase the output of oxytocin, the “love hormone” responsible for boosting one’s mood and fostering human bonding. \u003ca href=\"https://www.mcgill.ca/newsroom/channels/news/musical-chills-why-they-give-us-thrills-170538\" target=\"_blank\" rel=\"noopener\">Research\u003c/a> has also found that listening to pleasurable music triggers the brain to release dopamine, a neurotransmitter linked to happiness and other positive emotions. Similar to other somatic exercises, like meditation and yoga, music and singing can help soothe the body’s parasympathetic nervous system by calming down the amygdala, the part of the brain where fear resides.\u003c/p>\n\u003cp>In a phone interview, Luskin explains that music has the profound ability to relax the mind and the body and help people shed anger and resentment, emotions that can be toxic to one’s psychological and physical health.\u003c/p>\n\u003cp>“Holding onto grudges can cause our bodies to remain in a state of threat,” says Luskin. He says this state can trigger the body to release stress hormones, like cortisol, which can make one more prone to insomnia, heart disease, and depression.\u003c/p>\n\u003cp>https://youtu.be/cL51zvhrMiw\u003c/p>\n\u003cp>In contrast to the popular notion that to forgive is to forget, Luskin says forgiveness does not require us to erase painful memories. “We never forget the worst parts of our lives,” he says. “But forgiveness can help us to remember upsetting situations differently by transitioning our hostile feelings to a more peaceful place.”\u003c/p>\n\u003cp>During his talk on Tuesday, Luskin will teach participants the “\u003ca href=\"https://learningtoforgive.com/9-steps/\" target=\"_blank\" rel=\"noopener\">Nine Steps to Forgiveness\u003c/a>,” a roadmap based on his research that encourages audiences to let go of grievances. “Grievances are often a result of taking things too personally,” Luskin explains. “When we see someone, such as a friend, family member, or politician as the offender, we blame them for our suffering. Then, we weave a grievance story around that particular narrative.”\u003c/p>\n\u003cp>He goes on to add that even if we’re upset about ongoing social problems, like homelessness, politics, or racism, we can transform our anger into something constructive, like advocacy. “Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action,” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action.” – Dr. Fred Luskin\u003c/aside>\n\u003cp>Still, intellectually understanding how anger can impact the mind and the body is only one part of the forgiveness equation. Luskin points out that in order to truly grasp the healing powers of forgiveness, one must experience it for oneself on an emotional level.\u003c/p>\n\u003cp>In the second half of the program, Moltisanti will facilitate a sound healing concert, allowing participants to experience how music, singing, and sound healing can help them let go of anger, sadness, and hurt. “The idea is to not only bring knowledge and awareness to forgiveness, but to help people feel it,” she says.\u003c/p>\n\u003cp>Moltisanti will guide participants into a relaxing state through meditation. Then, using the soothing sounds of operatic vocalization and crystal singing bowls, she’ll help individuals locate the rage and pain within, encouraging them to sing and make sounds themselves in order to let go.\u003c/p>\n\u003cp>“When we can allow the breath and voice to flow, the body aligns with the vibration,” says Moltisanti, “and we can begin to let go of suffering.”\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>Fred Luskin and Donatella Moltisanti will give a lecture and concert at the Unity Church in Palo Alto. More information \u003ca href=\"https://www.unitypaloalto.org/event/experience-forgiveness/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donatella Moltisanti first discovered the therapeutic benefits of music three decades ago while studying opera at a music conservatory in Italy.\u003c/p>\n\u003cp>“As a teenager, I suffered from debilitating menstrual cramps that left me bedridden for several days each month,” says Moltisanti, a New York-based alternative wellness practitioner who calls herself a “soul healer.” “Medication provided no relief, but once I began singing opera, the pain dissipated.”\u003c/p>\n\u003cp>Whether it’s a lullaby that coaxes a crying baby to sleep or the sound of a harmonic harp to settle one’s anxiety, music has the power to soothe and heal us, and \u003ca href=\"http://www.positivehealth.com/article/sound-and-music/the-healing-power-of-sound\" target=\"_blank\" rel=\"noopener\">science\u003c/a> agrees. Now, Moltisanti is using singing and sound healing as a form of medicine to encourage others to forgive.\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/K472DtB9jGA'\n title='//www.youtube.com/embed/K472DtB9jGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On Apr. 24, Moltisanti and her colleague \u003ca href=\"https://vpge.stanford.edu/people/fred-luskin\" target=\"_blank\" rel=\"noopener\">Dr. Fred Luskin\u003c/a>, director of the Stanford Forgiveness Project and author of \u003ca href=\"https://www.amazon.com/Forgive-Good-Proven-Prescription-Happiness/dp/006251721X\" target=\"_blank\" rel=\"noopener\">\u003cem>Forgive for Good\u003c/em>\u003c/a>, will give a joint program at Unity Church in Palo Alto. Luskin, who has worked with victims of violence in Northern Ireland, Sierra Leone, and the Sept. 11 attacks on the World Trade Center, will present his forgiveness research, followed by a sound healing program by Moltisanti. The event also celebrates the release of Moltisanti’s debut album, \u003cem>Moltisanti Soul Singing\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several \u003ca href=\"https://upliftconnect.com/health-benefits-of-music/\" target=\"_blank\" rel=\"noopener\">studies\u003c/a> show that singing, chanting, and humming can increase the output of oxytocin, the “love hormone” responsible for boosting one’s mood and fostering human bonding. \u003ca href=\"https://www.mcgill.ca/newsroom/channels/news/musical-chills-why-they-give-us-thrills-170538\" target=\"_blank\" rel=\"noopener\">Research\u003c/a> has also found that listening to pleasurable music triggers the brain to release dopamine, a neurotransmitter linked to happiness and other positive emotions. Similar to other somatic exercises, like meditation and yoga, music and singing can help soothe the body’s parasympathetic nervous system by calming down the amygdala, the part of the brain where fear resides.\u003c/p>\n\u003cp>In a phone interview, Luskin explains that music has the profound ability to relax the mind and the body and help people shed anger and resentment, emotions that can be toxic to one’s psychological and physical health.\u003c/p>\n\u003cp>“Holding onto grudges can cause our bodies to remain in a state of threat,” says Luskin. He says this state can trigger the body to release stress hormones, like cortisol, which can make one more prone to insomnia, heart disease, and depression.\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/cL51zvhrMiw'\n title='//www.youtube.com/embed/cL51zvhrMiw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In contrast to the popular notion that to forgive is to forget, Luskin says forgiveness does not require us to erase painful memories. “We never forget the worst parts of our lives,” he says. “But forgiveness can help us to remember upsetting situations differently by transitioning our hostile feelings to a more peaceful place.”\u003c/p>\n\u003cp>During his talk on Tuesday, Luskin will teach participants the “\u003ca href=\"https://learningtoforgive.com/9-steps/\" target=\"_blank\" rel=\"noopener\">Nine Steps to Forgiveness\u003c/a>,” a roadmap based on his research that encourages audiences to let go of grievances. “Grievances are often a result of taking things too personally,” Luskin explains. “When we see someone, such as a friend, family member, or politician as the offender, we blame them for our suffering. Then, we weave a grievance story around that particular narrative.”\u003c/p>\n\u003cp>He goes on to add that even if we’re upset about ongoing social problems, like homelessness, politics, or racism, we can transform our anger into something constructive, like advocacy. “Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action,” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">“Instead of causing us to feel helpless, constructive anger can inspire us to do something positive, like take action.” – Dr. Fred Luskin\u003c/aside>\n\u003cp>Still, intellectually understanding how anger can impact the mind and the body is only one part of the forgiveness equation. Luskin points out that in order to truly grasp the healing powers of forgiveness, one must experience it for oneself on an emotional level.\u003c/p>\n\u003cp>In the second half of the program, Moltisanti will facilitate a sound healing concert, allowing participants to experience how music, singing, and sound healing can help them let go of anger, sadness, and hurt. “The idea is to not only bring knowledge and awareness to forgiveness, but to help people feel it,” she says.\u003c/p>\n\u003cp>Moltisanti will guide participants into a relaxing state through meditation. Then, using the soothing sounds of operatic vocalization and crystal singing bowls, she’ll help individuals locate the rage and pain within, encouraging them to sing and make sounds themselves in order to let go.\u003c/p>\n\u003cp>“When we can allow the breath and voice to flow, the body aligns with the vibration,” says Moltisanti, “and we can begin to let go of suffering.”\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>Fred Luskin and Donatella Moltisanti will give a lecture and concert at the Unity Church in Palo Alto. More information \u003ca href=\"https://www.unitypaloalto.org/event/experience-forgiveness/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\u003c/p>\n\u003cp>https://youtu.be/_ovdm2yX4MA\u003c/p>\n\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\n\u003cp>https://twitter.com/aloeblacc/status/987394281303302144\u003c/p>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\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=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\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/_ovdm2yX4MA'\n title='//www.youtube.com/embed/_ovdm2yX4MA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\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=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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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.",
"airtime": "SUN 3pm-4pm",
"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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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
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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/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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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",
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