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"content": "\u003cp>Though it deals with heavy subjects, Ah Mer Ah Su’s sophomore EP \u003cem>Rebecca\u003c/em> cocoons her listeners in swathes of vocal loops and keyboard melodies that inspire one to imagine a world beyond oppressive forces.\u003c/p>\n\u003cp>But that’s not to say that \u003cem>Rebecca\u003c/em> is a utopia. Its most compelling track, “Klonopin,” frankly addresses the cocktail of prescription and party drugs Ah Mer Ah Su took to cope with a friend’s suicide. “Run, run / Hide, hide,” she sings in a dreamy falsetto, as if yearning to escape into the world she creates with her drum machine and twinkling keys that evoke a toy piano. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/292397825″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>With “Space,” which carries on at the urgent pace of Sia’s “Chandelier,” Ah Mer Ah Su processes the painful experience of dealing with men who are ashamed of their attraction to trans women. (In \u003ca href=\"http://www.papermag.com/premiere-check-out-ah-mer-ah-sus-new-song-space-2079619004.html\" target=\"_blank\" rel=\"noopener\">interviews\u003c/a>, she’s been candid in addressing violence against trans women at the hands of romantic partners.)\u003c/p>\n\u003cp>https://youtu.be/6PZHb8FiMfY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Ah Mer Ah Su told me \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" rel=\"noopener\" target=\"_blank\">earlier this year\u003c/a>, the title \u003cem>Rebecca\u003c/em> comes from Beyoncé’s immortal words “He better call Becky with the good hair” on \u003cem>Lemonade\u003c/em>, and “Meg Ryan” is where Ah Mer Ah Su delves into the “Becky” concept: In the track’s music video, she saunters around town in a blond wig, repeating the refrain “I’m a white woman / I can do whatever I want” in a valley girl voice. \u003c/p>\n\u003cp>The track provides much-needed comedic relief for \u003cem>Rebecca\u003c/em>‘s difficult subject matter, but that’s not to say it’s a dour record. Quite the opposite, actually: Despite the hardships she’s endured, Ah Mer Ah Su finds ways to create gorgeous, imaginative sounds, interweaving clever societal commentary throughout.\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>Click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see the rest of our favorite Bay Area albums of 2017. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Ah Mer Ah Su told me \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" rel=\"noopener\" target=\"_blank\">earlier this year\u003c/a>, the title \u003cem>Rebecca\u003c/em> comes from Beyoncé’s immortal words “He better call Becky with the good hair” on \u003cem>Lemonade\u003c/em>, and “Meg Ryan” is where Ah Mer Ah Su delves into the “Becky” concept: In the track’s music video, she saunters around town in a blond wig, repeating the refrain “I’m a white woman / I can do whatever I want” in a valley girl voice. \u003c/p>\n\u003cp>The track provides much-needed comedic relief for \u003cem>Rebecca\u003c/em>‘s difficult subject matter, but that’s not to say it’s a dour record. Quite the opposite, actually: Despite the hardships she’s endured, Ah Mer Ah Su finds ways to create gorgeous, imaginative sounds, interweaving clever societal commentary throughout.\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>Click \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see the rest of our favorite Bay Area albums of 2017. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The consensus is in: 2017 was one of the worst years in recent memory. Creeping authoritarianism, erosion of civil liberties, mass shootings, natural disasters — what \u003cem>hasn’t\u003c/em> been thrown our way this year? But more so, 2017 has been a year of reckoning, forcing us to confront inequalities and injustices that have been part of American society from the beginning.\u003c/p>\n\u003cp>Even as we were inundated with tragedy after tragedy, music reminded us of love, beauty, and laughter. It kept us going, demonstrating the human spirit’s infinite capacity for resilience. Below you’ll find a list (in no particular order) of mainstream and notable indie releases that made 2017 not just bearable, but joyous and exciting.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Contributors\u003c/strong>: Rae Alexandra, Jody Amable, Claudia Escobar, Ruth Gebreyesus, Sarah Hotchkiss, Gabe Meline, Montse Reyes, Adrian Spinelli, Nick Veronin, and Nastia Voynovskaya.\u003c/em>\u003c/p>\n\u003cp>(\u003cem>Our separate list of the \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">Top 10 Bay Area Albums of the Year\u003c/a> is here.\u003c/em>)\u003c/p>\n\u003cp>https://youtu.be/hHXfCOjb3fk\u003c/p>\n\u003ch3>SZA, \u003cem>CTRL\u003c/em>\u003c/h3>\n\u003cp>Much in the way that Kristen Roupenian’s viral short story “Cat Person” tapped into a seldom-discussed side of dating for straight and bi women, SZA’s \u003cem>CTRL\u003c/em> nails the ways we arm ourselves while yearning for connection in an app-driven, feelings-devoid world. On the bubbly R&B record, SZA has had it with insincere hookups who don’t merit her vulnerability or efforts. Instead of waiting for dudes to break her heart, she’s one step ahead. You’re over me just like that? No problem, I’m already fooling around with your friend (“Supermodel”). He has two sidechicks? It’s okay, girl, I’ll take him on the weekends, you can have Monday through Friday (“The Weekend”). In singing about her quest to be invincible against noncommittal guys, she lets us into the multitudes of ways women stretch ourselves to manage our own and others’ emotional needs. Her voice is gorgeous and heartfelt, and her lyrics are tongue-in-cheek with a devilish grin. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/mkEmnrUzFFE\u003c/p>\n\u003ch3>Chicano Batman,\u003cem> Freedom is Free\u003c/em>\u003c/h3>\n\u003cp>Chicano Batman, from East LA, has long endeared listeners with their seamless patchwork of Latin American sonic histories — but this year’s \u003cem>Freedom is Free\u003c/em> stands out in their catalog as a vessel for emotional healing as well. In drawing from the lineage of funk, soul, and tropicalia — genres born of political strife, as a response and respite from inequity — the record becomes one of resilience. “The Taker Story” reminds us of that violence and exploitation — from the genocide of Native Americans to the displacement of communities of color — lie at the foundation of Western society. “La Jura” speaks to the epidemic of police violence affecting black and brown communities. The album is honest but hopeful, recalling the cyclic nature of history and lifting the power of community. \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/S-sJp1FfG7Q\u003c/p>\n\u003ch3>Migos, \u003cem>Culture\u003c/em>\u003c/h3>\n\u003cp>For every empty and compulsive use of the word “culture” this year, three young men from Lawrenceville, Georgia were actually doing the heavy lifting. Quavo, Offset, and Takeoff, known collectively as Migos, dropped \u003cem>Culture\u003c/em>, their second studio album, this January. The infectious “Bad and Boujee” went on to be the crew’s first No. 1 single, spawning countless memes on its way to the top. And though the song is irresistible — with a Lil Uzi Vert feature that grows on you like an unusual nail polish color chosen in haste — “Call Casting” is an unexpected standout, with Takeoff’s witty bars, a church organ, and playful chirp ad-libs. Equally noteworthy is “Get Right Witcha” and its understated beat, which encouraged minimal and potent poesy from the Migos. Though the album is top-heavy with hits, Culture’s last track, “Out Yo Way,” ends the album on a meditative and grateful note. And with the reflection that the end of a year brings, how can you not be thankful for Migos and their impact on culture this year? From \u003cem>Culture\u003c/em> to the royal engagement of Offset and Cardi B to their memorable BET Awards interview (\u003ca href=\"https://www.youtube.com/watch?v=6mq2ukdhyhQ\" target=\"_blank\" rel=\"noopener\">“Do it look like I was left off ‘Bad and Boujee’?”\u003c/a>), Migos put in overtime in 2017. \u003cem>— Ruth Gebreyesus\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/CMyRfIpNvPs\u003c/p>\n\u003ch3>Moses Sumney, \u003cem>Aromanticism\u003c/em>\u003c/h3>\n\u003cp>Moses Sumney’s \u003cem>Aromanticism\u003c/em> is an atmospheric, yearning album that sounds like it was beamed in from a distant planet. Throughout the vocal loop- and guitar-driven project, Sumney draws from smoky speakeasy jazz, freak folk strumming, and Winehousian R&B revival, but mostly, he lingers in some other, unnerving plane. Sometimes he approaches the tuneful sensibilities of American standards, but quickly swerves into sparkling, electronic sounds, taking listeners to some quiet, brooding galaxy. But all of \u003cem>Aromanticism’s\u003c/em> world-building doesn’t detract from Sumney’s arresting vocals, which gives it the gravity that makes it such a parallel for these uneasy times. It’s an album that can never quite figure out where it wants to go, but in 2017, can anyone? \u003cem>Aromanticism\u003c/em> is a sympathetic symphony for a nation groping at stability. \u003cem>— Jody Amable\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/tvTRZJ-4EyI\u003c/p>\n\u003ch3>Kendrick Lamar, \u003cem>DAMN.\u003c/em>\u003c/h3>\n\u003cp>Lamar’s role as a cultural figure is unquestionable. In a time of frustration, hate, anger, and exhaustion, Lamar eschewed the expectation to deliver an explicitly political statement (“XXX” is the closest you’d get). Rather, he turned inward. The result is an unflinching confrontation with the interior. Lamar grapples with the big questions — faith, morality, love, and the pressure of fame. He unpacks the impact of systemic oppression in a personal way, contending with the burden placed on him to be a spokesperson for black America. And of course, there’s the joy of getting to hear Lamar rap. He is nimble with his voice, the album’s most stunning instrument, and creates a landscape of textures — even gesturing to Juvenile’s “Ha” by borrowing his signature clipped flow on “Element.” \u003cem>— MR\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/339324287″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>OCS, \u003cem>Memory of a Cut Off Head\u003c/em>\u003c/h3>\n\u003cp>In the streaming age, it can be difficult to truly hone in on a favorite album. Great new music is always just a click away. Fans of the San Francisco-bred, L.A.-based musician John Dwyer — the man behind Thee Oh Sees — have it especially hard. Dude dropped two great records this year alone. However, while Orc was certainly a blast, Dwyer’s second release of 2017 is more memorable. On \u003cem>Memory of a Cut Off Head\u003c/em>, the psych-garage wizard reconnected with longtime collaborator Brigid Dawson, unplugged the amps, and turned in a quiet, compelling collection of mellow, meditative tunes. The album proves Dwyer is just as comfortable penning hushed freak folk and chamber pop arrangements as he is with cranking out “these go to eleven” acid freakouts. After a year that often has us wondering whether we were taking crazy pills, it was a welcome contribution. \u003cem>— Nick Veronin\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/76O3w4pt0CA\u003c/p>\n\u003ch3>Miguel, \u003cem>War & Leisure\u003c/em>\u003c/h3>\n\u003cp>Every song on this year’s \u003ci>War & Leisure\u003c/i> satisfies a particular mood. In need of a post-apocalyptic apology? Miguel gives us “City of Angels.” Want a Spanish-language dance floor anthem? Aquí está “Caramelo Duro”! A sultry James Brown-esque likening of sexual urges to a werewolf’s transformation? “Wolf” fulfills those desires. And as if we needed further proof he knows exactly what we want, \u003ci>War & Leisure\u003c/i>’s lead single “Sky Walker” came out right at the end of summer with a sweet “splish”: a lazy post-BBQ reminder to stay up just a little bit longer and “celebrate every day like a birthday.” \u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/sd5dcjXzuGk\u003c/p>\n\u003ch3>Kesha, \u003cem>Rainbow\u003c/em>\u003c/h3>\n\u003cp>In a year that started with the Woman’s March, ended with the toppling of high-profile sexual harassers, and inspired women all over the country to speak out about the wrongs done to them, the return of Kesha could not have been better timed. \u003cem>Rainbow\u003c/em> was the perfect, cathartic soundtrack to national events; a soulful expulsion of pain and trauma, a joyful anthem about strength in the face of adversity, and above all else, a guidebook on how to find the light in even the darkest of places, written by an expert on the subject. \u003cem>Rainbow\u003c/em> ultimately was one of the most inspiring albums of the year, Kesha’s unbreakable spirit woven into every track. “Rainbow” itself summed up her ethos perfectly: “Darling, our scars make us who we are.” \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Rxy8EYGWiPM\u003c/p>\n\u003ch3>Faye Webster, \u003cem>Faye Webster\u003c/em>\u003c/h3>\n\u003cp>Find me someone who predicted that the year’s best country album would be released by an indie hip-hop label and I’ll show you a liar. Thus is the case with Faye Webster’s nuanced self-titled sophomore album, out on the Atlanta-based, boundary-pushing rap label, Awful Records. The 19-year-old Webster weaves groovy love songs, twangy odes to her favorite baseball players, and emotionally-charged incantations of the highest order throughout the album’s lap steel-laden 10 tracks. She gracefully plays the role of Southern belle on “It’s Not a Sad Thing,” (“Well I wonder what he’s doing / And if he’s falling asleep / I wonder if the flight attendant’s prettier than me”) and paints stunning musical atmospheres, like on the carefully-calculated arrangement of the Rhodes keys- and lap steel-driven “I Know.” Webster is one of the most unique talents to emerge from the musical clutter of 2017 — her songs have a way of working their way into your head and rolling off your tongue in the most somber and comfortable moments alike. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/323027673″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>Daphni, \u003cem>Joli Mai\u003c/em>\u003c/h3>\n\u003cp>Dan Snaith swapped atmospheric, fuzzy synths from his chillwave outfit, Caribou, for hard-edged club beats as Daphni, his dance music alter-ego. His sophomore Daphni album, \u003cem>Joli Mai\u003c/em>, builds fascinating rhythms from skeletal, four-on-the-floor beats, adding layers of vocal samples and live instruments for epic crescendos designed with the dancefloor in mind. There’s “Face to Face,” which scales up from a minimalist breakbeat with a bass line that sounds like the Clash; the whispery, falsetto “face to face” vocal sample transforms the bare-bones dance-punk tune into a disco odyssey. “Xing Tian” is a cacophony of bass drums, which forcefully ricochet off the barely-there synths, vocals, and tambourine, creating dimension and drama. \u003cem>Joli Mai\u003c/em> has the power to put one — whether partying or studying — into a trance, but Snaith breaks its regimented rhythmic structures with playful textures and wonky effects that offer plenty of surprises throughout. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/6xRJ-MuN46E\u003c/p>\n\u003ch3>Hurray for the Riff Raff, \u003cem>The Navigator\u003c/em>\u003c/h3>\n\u003cp>For the last decade, Hurray for the Riff Raff has mostly stuck to the down-home, good-time songs that their Americana-leaning fanbase lives for. But on \u003cem>The Navigator\u003c/em>, principal songwriter Alynda Segarra puts Americana’s long-established, rarely challenged conventions to the test. Following a central character, the album incorporates a variety of genre hallmarks — Caribbean rhythms, glitzy radio rock — throughout a series of vignettes about city living and the immigrant experience. By definition, it’s a concept album, but rather than writing a cloying collection of story-songs like a lot of modern-day rock operas (lookin’ at you, Green Day), Segarra keeps the cheesiness at bay by drawing from a deep well of honesty. \u003cem>The Navigator\u003c/em>’s departure from HFTRR’s previous sound is, at first, a shock to the system. But after a few listens, it seems so obvious that the daughter of Puerto Rican immigrants would write such a record under the Americana mantle. \u003cem>— JA\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Wjq7x2d_s1w\u003c/p>\n\u003ch3>Kelela, \u003cem>Take Me Apart\u003c/em>\u003c/h3>\n\u003cp>Kelela is worth the wait. Her debut studio album, which follows her 2015 EP \u003cem>Hallucinogen\u003c/em> and her 2013 breakthrough mixtape \u003cem>Cut 4 Me\u003c/em>, took four years to complete. And \u003cem>Take Me Apart\u003c/em> is evidence of that time. Entwining club beats with soulful R&B melodies, the album is an exhaustive and honest account of the dissolution and aftermath of relationships. Though the premise might sound emotionally laborious, Kelela is both the sea and the lighthouse on \u003cem>Take Me Apart\u003c/em>, never asking her fans to go places she’s hasn’t dared to go herself. She sings of breaking points with self-assurance on the upbeat opener, “Frontline” and with weary resignation on “Enough” over Arca & co.’s ethereal and warped production. Kelela also covers desire — the restless sort (on “S.O.S.” she sings “When I’m full I take another / Never been so greedy with a lover”) and the urgent kind on the sexy, bass-heavy “Blue Light.” The quintessence of her sonic and lyrical triumph is “Bluff,” whose opening piano keys come down like a verdict before a screeching saccharine melody softens the blow. On the track, Kelela accepts the defeat of a relationship’s end but not without a final plea. Though “Bluff” lasts just over a minute long, in the space of an interlude, Kelela achieves a stunning vulnerability, a trademark of the gifted musician. \u003cem>— RG\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/1hINj54mIrM?list=PLPJuUTmj4jnA47qpkoy-E0BNBJIIK6gP_\u003c/p>\n\u003ch3>Nicole Mitchell, \u003cem>Mandorla Awakening II: Emerging Worlds\u003c/em>\u003c/h3>\n\u003cp>While Solange posted regularly about Sun Ra on Instagram and a new breed of Afrofuturism wove through the music of Moses Sumney and Thundercat, the true torch in 2017 was carried by Mitchell, an OG from Chicago who’s already released 20 albums. \u003cem>Mandorla Awakening II\u003c/em> is full of the long, stretched-out improvisations and poetic recitations that one expects with spiritual jazz, but there’s a fire and intensity here that the young lions could only hope to conjure. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/_NSuIYwBxu4\u003c/p>\n\u003ch3>Sampha, \u003cem>Process\u003c/em>\u003c/h3>\n\u003cp>Grief never ends, really. When you’ve lost someone, reckoning with their absence can feel endless. It’s a process Sampha documents in his debut album, \u003cem>Process\u003c/em>, an ode to his mother who died of cancer. Over intimate arrangements that display the co-producer’s R&B, gospel and electronic sensibilities, Sampha shows you that grief is unyielding. Sometimes it overwhelms, nearly suffocating you in a wave of panic (“Blood on Me,” “Reverse Faults”). Other days, you’re left guilty and desperate (“Plastic 100°C”). And some days, you’re just empty (“(No One Knows Me) Like the Piano”). Often, it is all of the above. Sampha leaves us without any tidy platitudes about sorrow, just with the knowledge that the absence of your loved one follows you forever. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/uo14xGYwWd4\u003c/p>\n\u003ch3>Gucci Mane, \u003cem>Mr. Davis\u003c/em>\u003c/h3>\n\u003cp>If his bestseller \u003cem>The Autobiography of Gucci Mane\u003c/em> was where Guwop bared it all, then his album \u003cem>Mr. Davis\u003c/em> is its musical counterpart. On his second full-length release of 2017 (the first, \u003cem>Droptop Wop\u003c/em>, is also excellent), Gucci reckons with past versions of himself, before he became “Multi Millionaire LaFlare” with the gorgeous wife, enormous mansion, and diamond-encrusted everything. These past versions of Gucci — fatherless child, hustler, drug addict — aren’t glamorous, but throughout \u003cem>Dr. Davis\u003c/em>, Gucci doesn’t get overly sentimental or remorseful. Instead, he nobly accepts the hand he’s been dealt, realizing that the numerous obstacles he’s faced have only made him more resilient. The album provides no shortage of big-bass baller anthems (“I Get the Bag,” “Make Love,” “Tone It Down”), but “We Ride,” his ode to his love, Keyshia Ka’Oir Davis — and the work he’s put in to better himself and foster a healthy relationship — can make even the most stoic among us shed a thug tear. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/2d7U4CX0PHk\u003c/p>\n\u003ch3>Kehlani, \u003cem>SweetSexySavage\u003c/em>\u003c/h3>\n\u003cp>Fresh off her \u003cem>You Should Be Here\u003c/em> triumph, Oakland’s own melting-pot dynamo signed a major-label deal and delivered an R&B record that’s a little more formulaic than her homemade stuff, and a lot more slick. But Kehlani still has her heart firmly in her music, co-writing every song here with keen awareness of the human condition and singing them like her life depended on it. With subtle hooks and rewarding non-hits, and Kehlani’s don’t-give-a-damn approach, \u003cem>SweetSexySavage\u003c/em> is a slow burner that grows on you. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/NCEQX46L3KU\u003c/p>\n\u003ch3>Bomba Estéreo, \u003cem>Ayo\u003c/em>\u003c/h3>\n\u003cp>Electronic duo Bomba Estéreo’s \u003cem>Ayo\u003c/em> is like being at the beach in Colombia. Through colorful electronics and call-and-response, Spanish-language vocals, the Colombian two-piece creates a tropical, futuristic, Zen world full of colors, sensuality, and dancing. The lively “Internacionales” is a much-needed call for global unity — and feels like one huge party where everyone in the world is invited. \u003cem>— Claudia Escobar\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RM7lw0Ovzq0\u003c/p>\n\u003ch3>Jay-Z, \u003cem>4:44\u003c/em>\u003c/h3>\n\u003cp>I suppose, in an alternate universe where Beyoncé did not dictate all cultural discourse, that Jay-Z could have curved out of the \u003cem>Lemonade\u003c/em> discussion altogether and released another album about business, blackness, and how great it is to be Jay-Z. Instead, he released an album about business, blackness, and how \u003cem>complicated\u003c/em> it is to be Jay-Z. What made \u003cem>4:44\u003c/em> work wasn’t just his frankness about infidelity; anyone in therapy will tell you that when they try to fix a problem, they discover a panoply of other related problems. That’s \u003cem>4:44\u003c/em>. In an unflinching, honest self-examination, Jay-Z is in rare form here. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/ozv4q2ov3Mk\u003c/p>\n\u003ch3>Calvin Harris, \u003cem>Funk Wav Bounces Vol. 1\u003c/em>\u003c/h3>\n\u003cp>Once known for mechanical EDM bangers, Calvin Harris created an unexpectedly soulful hip-hop and R&B smash with \u003cem>Funk Wav Bounces Vol. 1\u003c/em>, an album that sounds like drinking a tequila sunrise on a tropical island at dawn. For this funky collection of four-on-the-floor and two-step tracks, Harris enlisted a cast of A-list collaborators (Young Thug, Katy Perry, Pharrell) and well-chosen newcomers (Kehlani, Khalid, Lil Yachty). The result is not a 2001 “What’s Going On”-esque hodgepodge of celebrity vocalists, but rather a collection of thoughtful, unlikely collaborations. Harris gets Young Thug to belt it out on “Heatstroke” and elicits an animated take from the typically deadpan Big Sean on “Feels,” both feel-good tracks that sound just as great at a family function as they do at a club. But the album’s crown jewel is “Slide,” featuring Frank Ocean and Migos — the first true pop anthem from Ocean since \u003cem>Channel Orange\u003c/em>. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/xTjQHfP1KOo\u003c/p>\n\u003ch3>Washed Out, \u003cem>Mister Mellow\u003c/em>\u003c/h3>\n\u003cp>Washed Out’s Ernest Greene emerged as one of the key players in the “chillwave” movement with his 2009 track “Feel It All Around.” Best remembered as the \u003cem>Portlandia\u003c/em> theme song, it powered Greene into a deal with Sub Pop for his breakthrough LP, \u003cem>Within and Without\u003c/em> in 2011. He became a touring sensation, but endured a lacking effort on 2013’s \u003cem>Paracosm\u003c/em> that nearly faded him into the chill. Enter empresario Peanut Butter Wolf and his legendary Stones Throw label, who signed a re-energized Greene for his first release in four years, \u003cem>Mister Mellow\u003c/em>, far and away the best Washed Out album to date. Gone is the shell of a sub-genre which quickly exhausted Greene’s output, and in its place is welcome experimentation, enthralling psychedelia, and a funky core that slides right into the Stones Throw catalog. Bonus points for the album’s trippy track-by-track visual companion, starring Greene and \u003cem>SNL’s\u003c/em> Kyle Mooney. \u003cem>— AS\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "Our 20 Favorite Non-Local Albums of 2017 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The consensus is in: 2017 was one of the worst years in recent memory. Creeping authoritarianism, erosion of civil liberties, mass shootings, natural disasters — what \u003cem>hasn’t\u003c/em> been thrown our way this year? But more so, 2017 has been a year of reckoning, forcing us to confront inequalities and injustices that have been part of American society from the beginning.\u003c/p>\n\u003cp>Even as we were inundated with tragedy after tragedy, music reminded us of love, beauty, and laughter. It kept us going, demonstrating the human spirit’s infinite capacity for resilience. Below you’ll find a list (in no particular order) of mainstream and notable indie releases that made 2017 not just bearable, but joyous and exciting.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Contributors\u003c/strong>: Rae Alexandra, Jody Amable, Claudia Escobar, Ruth Gebreyesus, Sarah Hotchkiss, Gabe Meline, Montse Reyes, Adrian Spinelli, Nick Veronin, and Nastia Voynovskaya.\u003c/em>\u003c/p>\n\u003cp>(\u003cem>Our separate list of the \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">Top 10 Bay Area Albums of the Year\u003c/a> is here.\u003c/em>)\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/hHXfCOjb3fk'\n title='//www.youtube.com/embed/hHXfCOjb3fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>SZA, \u003cem>CTRL\u003c/em>\u003c/h3>\n\u003cp>Much in the way that Kristen Roupenian’s viral short story “Cat Person” tapped into a seldom-discussed side of dating for straight and bi women, SZA’s \u003cem>CTRL\u003c/em> nails the ways we arm ourselves while yearning for connection in an app-driven, feelings-devoid world. On the bubbly R&B record, SZA has had it with insincere hookups who don’t merit her vulnerability or efforts. Instead of waiting for dudes to break her heart, she’s one step ahead. You’re over me just like that? No problem, I’m already fooling around with your friend (“Supermodel”). He has two sidechicks? It’s okay, girl, I’ll take him on the weekends, you can have Monday through Friday (“The Weekend”). In singing about her quest to be invincible against noncommittal guys, she lets us into the multitudes of ways women stretch ourselves to manage our own and others’ emotional needs. Her voice is gorgeous and heartfelt, and her lyrics are tongue-in-cheek with a devilish grin. \u003cem>— Nastia Voynovskaya\u003c/em>\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/mkEmnrUzFFE'\n title='//www.youtube.com/embed/mkEmnrUzFFE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Chicano Batman,\u003cem> Freedom is Free\u003c/em>\u003c/h3>\n\u003cp>Chicano Batman, from East LA, has long endeared listeners with their seamless patchwork of Latin American sonic histories — but this year’s \u003cem>Freedom is Free\u003c/em> stands out in their catalog as a vessel for emotional healing as well. In drawing from the lineage of funk, soul, and tropicalia — genres born of political strife, as a response and respite from inequity — the record becomes one of resilience. “The Taker Story” reminds us of that violence and exploitation — from the genocide of Native Americans to the displacement of communities of color — lie at the foundation of Western society. “La Jura” speaks to the epidemic of police violence affecting black and brown communities. The album is honest but hopeful, recalling the cyclic nature of history and lifting the power of community. \u003cem>— Montse Reyes\u003c/em>\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/S-sJp1FfG7Q'\n title='//www.youtube.com/embed/S-sJp1FfG7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Migos, \u003cem>Culture\u003c/em>\u003c/h3>\n\u003cp>For every empty and compulsive use of the word “culture” this year, three young men from Lawrenceville, Georgia were actually doing the heavy lifting. Quavo, Offset, and Takeoff, known collectively as Migos, dropped \u003cem>Culture\u003c/em>, their second studio album, this January. The infectious “Bad and Boujee” went on to be the crew’s first No. 1 single, spawning countless memes on its way to the top. And though the song is irresistible — with a Lil Uzi Vert feature that grows on you like an unusual nail polish color chosen in haste — “Call Casting” is an unexpected standout, with Takeoff’s witty bars, a church organ, and playful chirp ad-libs. Equally noteworthy is “Get Right Witcha” and its understated beat, which encouraged minimal and potent poesy from the Migos. Though the album is top-heavy with hits, Culture’s last track, “Out Yo Way,” ends the album on a meditative and grateful note. And with the reflection that the end of a year brings, how can you not be thankful for Migos and their impact on culture this year? From \u003cem>Culture\u003c/em> to the royal engagement of Offset and Cardi B to their memorable BET Awards interview (\u003ca href=\"https://www.youtube.com/watch?v=6mq2ukdhyhQ\" target=\"_blank\" rel=\"noopener\">“Do it look like I was left off ‘Bad and Boujee’?”\u003c/a>), Migos put in overtime in 2017. \u003cem>— Ruth Gebreyesus\u003c/em>\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/CMyRfIpNvPs'\n title='//www.youtube.com/embed/CMyRfIpNvPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Moses Sumney, \u003cem>Aromanticism\u003c/em>\u003c/h3>\n\u003cp>Moses Sumney’s \u003cem>Aromanticism\u003c/em> is an atmospheric, yearning album that sounds like it was beamed in from a distant planet. Throughout the vocal loop- and guitar-driven project, Sumney draws from smoky speakeasy jazz, freak folk strumming, and Winehousian R&B revival, but mostly, he lingers in some other, unnerving plane. Sometimes he approaches the tuneful sensibilities of American standards, but quickly swerves into sparkling, electronic sounds, taking listeners to some quiet, brooding galaxy. But all of \u003cem>Aromanticism’s\u003c/em> world-building doesn’t detract from Sumney’s arresting vocals, which gives it the gravity that makes it such a parallel for these uneasy times. It’s an album that can never quite figure out where it wants to go, but in 2017, can anyone? \u003cem>Aromanticism\u003c/em> is a sympathetic symphony for a nation groping at stability. \u003cem>— Jody Amable\u003c/em>\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/tvTRZJ-4EyI'\n title='//www.youtube.com/embed/tvTRZJ-4EyI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kendrick Lamar, \u003cem>DAMN.\u003c/em>\u003c/h3>\n\u003cp>Lamar’s role as a cultural figure is unquestionable. In a time of frustration, hate, anger, and exhaustion, Lamar eschewed the expectation to deliver an explicitly political statement (“XXX” is the closest you’d get). Rather, he turned inward. The result is an unflinching confrontation with the interior. Lamar grapples with the big questions — faith, morality, love, and the pressure of fame. He unpacks the impact of systemic oppression in a personal way, contending with the burden placed on him to be a spokesperson for black America. And of course, there’s the joy of getting to hear Lamar rap. He is nimble with his voice, the album’s most stunning instrument, and creates a landscape of textures — even gesturing to Juvenile’s “Ha” by borrowing his signature clipped flow on “Element.” \u003cem>— MR\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/339324287″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/339324287″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>OCS, \u003cem>Memory of a Cut Off Head\u003c/em>\u003c/h3>\n\u003cp>In the streaming age, it can be difficult to truly hone in on a favorite album. Great new music is always just a click away. Fans of the San Francisco-bred, L.A.-based musician John Dwyer — the man behind Thee Oh Sees — have it especially hard. Dude dropped two great records this year alone. However, while Orc was certainly a blast, Dwyer’s second release of 2017 is more memorable. On \u003cem>Memory of a Cut Off Head\u003c/em>, the psych-garage wizard reconnected with longtime collaborator Brigid Dawson, unplugged the amps, and turned in a quiet, compelling collection of mellow, meditative tunes. The album proves Dwyer is just as comfortable penning hushed freak folk and chamber pop arrangements as he is with cranking out “these go to eleven” acid freakouts. After a year that often has us wondering whether we were taking crazy pills, it was a welcome contribution. \u003cem>— Nick Veronin\u003c/em>\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/76O3w4pt0CA'\n title='//www.youtube.com/embed/76O3w4pt0CA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Miguel, \u003cem>War & Leisure\u003c/em>\u003c/h3>\n\u003cp>Every song on this year’s \u003ci>War & Leisure\u003c/i> satisfies a particular mood. In need of a post-apocalyptic apology? Miguel gives us “City of Angels.” Want a Spanish-language dance floor anthem? Aquí está “Caramelo Duro”! A sultry James Brown-esque likening of sexual urges to a werewolf’s transformation? “Wolf” fulfills those desires. And as if we needed further proof he knows exactly what we want, \u003ci>War & Leisure\u003c/i>’s lead single “Sky Walker” came out right at the end of summer with a sweet “splish”: a lazy post-BBQ reminder to stay up just a little bit longer and “celebrate every day like a birthday.” \u003cem>— Sarah Hotchkiss\u003c/em>\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/sd5dcjXzuGk'\n title='//www.youtube.com/embed/sd5dcjXzuGk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kesha, \u003cem>Rainbow\u003c/em>\u003c/h3>\n\u003cp>In a year that started with the Woman’s March, ended with the toppling of high-profile sexual harassers, and inspired women all over the country to speak out about the wrongs done to them, the return of Kesha could not have been better timed. \u003cem>Rainbow\u003c/em> was the perfect, cathartic soundtrack to national events; a soulful expulsion of pain and trauma, a joyful anthem about strength in the face of adversity, and above all else, a guidebook on how to find the light in even the darkest of places, written by an expert on the subject. \u003cem>Rainbow\u003c/em> ultimately was one of the most inspiring albums of the year, Kesha’s unbreakable spirit woven into every track. “Rainbow” itself summed up her ethos perfectly: “Darling, our scars make us who we are.” \u003cem>— Rae Alexandra\u003c/em>\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/Rxy8EYGWiPM'\n title='//www.youtube.com/embed/Rxy8EYGWiPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Faye Webster, \u003cem>Faye Webster\u003c/em>\u003c/h3>\n\u003cp>Find me someone who predicted that the year’s best country album would be released by an indie hip-hop label and I’ll show you a liar. Thus is the case with Faye Webster’s nuanced self-titled sophomore album, out on the Atlanta-based, boundary-pushing rap label, Awful Records. The 19-year-old Webster weaves groovy love songs, twangy odes to her favorite baseball players, and emotionally-charged incantations of the highest order throughout the album’s lap steel-laden 10 tracks. She gracefully plays the role of Southern belle on “It’s Not a Sad Thing,” (“Well I wonder what he’s doing / And if he’s falling asleep / I wonder if the flight attendant’s prettier than me”) and paints stunning musical atmospheres, like on the carefully-calculated arrangement of the Rhodes keys- and lap steel-driven “I Know.” Webster is one of the most unique talents to emerge from the musical clutter of 2017 — her songs have a way of working their way into your head and rolling off your tongue in the most somber and comfortable moments alike. \u003cem>— Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/323027673″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/323027673″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Daphni, \u003cem>Joli Mai\u003c/em>\u003c/h3>\n\u003cp>Dan Snaith swapped atmospheric, fuzzy synths from his chillwave outfit, Caribou, for hard-edged club beats as Daphni, his dance music alter-ego. His sophomore Daphni album, \u003cem>Joli Mai\u003c/em>, builds fascinating rhythms from skeletal, four-on-the-floor beats, adding layers of vocal samples and live instruments for epic crescendos designed with the dancefloor in mind. There’s “Face to Face,” which scales up from a minimalist breakbeat with a bass line that sounds like the Clash; the whispery, falsetto “face to face” vocal sample transforms the bare-bones dance-punk tune into a disco odyssey. “Xing Tian” is a cacophony of bass drums, which forcefully ricochet off the barely-there synths, vocals, and tambourine, creating dimension and drama. \u003cem>Joli Mai\u003c/em> has the power to put one — whether partying or studying — into a trance, but Snaith breaks its regimented rhythmic structures with playful textures and wonky effects that offer plenty of surprises throughout. \u003cem>— NV\u003c/em>\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/6xRJ-MuN46E'\n title='//www.youtube.com/embed/6xRJ-MuN46E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Hurray for the Riff Raff, \u003cem>The Navigator\u003c/em>\u003c/h3>\n\u003cp>For the last decade, Hurray for the Riff Raff has mostly stuck to the down-home, good-time songs that their Americana-leaning fanbase lives for. But on \u003cem>The Navigator\u003c/em>, principal songwriter Alynda Segarra puts Americana’s long-established, rarely challenged conventions to the test. Following a central character, the album incorporates a variety of genre hallmarks — Caribbean rhythms, glitzy radio rock — throughout a series of vignettes about city living and the immigrant experience. By definition, it’s a concept album, but rather than writing a cloying collection of story-songs like a lot of modern-day rock operas (lookin’ at you, Green Day), Segarra keeps the cheesiness at bay by drawing from a deep well of honesty. \u003cem>The Navigator\u003c/em>’s departure from HFTRR’s previous sound is, at first, a shock to the system. But after a few listens, it seems so obvious that the daughter of Puerto Rican immigrants would write such a record under the Americana mantle. \u003cem>— JA\u003c/em>\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/Wjq7x2d_s1w'\n title='//www.youtube.com/embed/Wjq7x2d_s1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kelela, \u003cem>Take Me Apart\u003c/em>\u003c/h3>\n\u003cp>Kelela is worth the wait. Her debut studio album, which follows her 2015 EP \u003cem>Hallucinogen\u003c/em> and her 2013 breakthrough mixtape \u003cem>Cut 4 Me\u003c/em>, took four years to complete. And \u003cem>Take Me Apart\u003c/em> is evidence of that time. Entwining club beats with soulful R&B melodies, the album is an exhaustive and honest account of the dissolution and aftermath of relationships. Though the premise might sound emotionally laborious, Kelela is both the sea and the lighthouse on \u003cem>Take Me Apart\u003c/em>, never asking her fans to go places she’s hasn’t dared to go herself. She sings of breaking points with self-assurance on the upbeat opener, “Frontline” and with weary resignation on “Enough” over Arca & co.’s ethereal and warped production. Kelela also covers desire — the restless sort (on “S.O.S.” she sings “When I’m full I take another / Never been so greedy with a lover”) and the urgent kind on the sexy, bass-heavy “Blue Light.” The quintessence of her sonic and lyrical triumph is “Bluff,” whose opening piano keys come down like a verdict before a screeching saccharine melody softens the blow. On the track, Kelela accepts the defeat of a relationship’s end but not without a final plea. Though “Bluff” lasts just over a minute long, in the space of an interlude, Kelela achieves a stunning vulnerability, a trademark of the gifted musician. \u003cem>— RG\u003c/em>\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/1hINj54mIrM'\n title='//www.youtube.com/embed/1hINj54mIrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Nicole Mitchell, \u003cem>Mandorla Awakening II: Emerging Worlds\u003c/em>\u003c/h3>\n\u003cp>While Solange posted regularly about Sun Ra on Instagram and a new breed of Afrofuturism wove through the music of Moses Sumney and Thundercat, the true torch in 2017 was carried by Mitchell, an OG from Chicago who’s already released 20 albums. \u003cem>Mandorla Awakening II\u003c/em> is full of the long, stretched-out improvisations and poetic recitations that one expects with spiritual jazz, but there’s a fire and intensity here that the young lions could only hope to conjure. \u003cem>— Gabe Meline\u003c/em>\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/_NSuIYwBxu4'\n title='//www.youtube.com/embed/_NSuIYwBxu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Sampha, \u003cem>Process\u003c/em>\u003c/h3>\n\u003cp>Grief never ends, really. When you’ve lost someone, reckoning with their absence can feel endless. It’s a process Sampha documents in his debut album, \u003cem>Process\u003c/em>, an ode to his mother who died of cancer. Over intimate arrangements that display the co-producer’s R&B, gospel and electronic sensibilities, Sampha shows you that grief is unyielding. Sometimes it overwhelms, nearly suffocating you in a wave of panic (“Blood on Me,” “Reverse Faults”). Other days, you’re left guilty and desperate (“Plastic 100°C”). And some days, you’re just empty (“(No One Knows Me) Like the Piano”). Often, it is all of the above. Sampha leaves us without any tidy platitudes about sorrow, just with the knowledge that the absence of your loved one follows you forever. \u003cem>— MR\u003c/em>\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/uo14xGYwWd4'\n title='//www.youtube.com/embed/uo14xGYwWd4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Gucci Mane, \u003cem>Mr. Davis\u003c/em>\u003c/h3>\n\u003cp>If his bestseller \u003cem>The Autobiography of Gucci Mane\u003c/em> was where Guwop bared it all, then his album \u003cem>Mr. Davis\u003c/em> is its musical counterpart. On his second full-length release of 2017 (the first, \u003cem>Droptop Wop\u003c/em>, is also excellent), Gucci reckons with past versions of himself, before he became “Multi Millionaire LaFlare” with the gorgeous wife, enormous mansion, and diamond-encrusted everything. These past versions of Gucci — fatherless child, hustler, drug addict — aren’t glamorous, but throughout \u003cem>Dr. Davis\u003c/em>, Gucci doesn’t get overly sentimental or remorseful. Instead, he nobly accepts the hand he’s been dealt, realizing that the numerous obstacles he’s faced have only made him more resilient. The album provides no shortage of big-bass baller anthems (“I Get the Bag,” “Make Love,” “Tone It Down”), but “We Ride,” his ode to his love, Keyshia Ka’Oir Davis — and the work he’s put in to better himself and foster a healthy relationship — can make even the most stoic among us shed a thug tear. \u003cem>— NV\u003c/em>\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/2d7U4CX0PHk'\n title='//www.youtube.com/embed/2d7U4CX0PHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kehlani, \u003cem>SweetSexySavage\u003c/em>\u003c/h3>\n\u003cp>Fresh off her \u003cem>You Should Be Here\u003c/em> triumph, Oakland’s own melting-pot dynamo signed a major-label deal and delivered an R&B record that’s a little more formulaic than her homemade stuff, and a lot more slick. But Kehlani still has her heart firmly in her music, co-writing every song here with keen awareness of the human condition and singing them like her life depended on it. With subtle hooks and rewarding non-hits, and Kehlani’s don’t-give-a-damn approach, \u003cem>SweetSexySavage\u003c/em> is a slow burner that grows on you. \u003cem>— GM\u003c/em>\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/NCEQX46L3KU'\n title='//www.youtube.com/embed/NCEQX46L3KU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Bomba Estéreo, \u003cem>Ayo\u003c/em>\u003c/h3>\n\u003cp>Electronic duo Bomba Estéreo’s \u003cem>Ayo\u003c/em> is like being at the beach in Colombia. Through colorful electronics and call-and-response, Spanish-language vocals, the Colombian two-piece creates a tropical, futuristic, Zen world full of colors, sensuality, and dancing. The lively “Internacionales” is a much-needed call for global unity — and feels like one huge party where everyone in the world is invited. \u003cem>— Claudia Escobar\u003c/em>\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/RM7lw0Ovzq0'\n title='//www.youtube.com/embed/RM7lw0Ovzq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Jay-Z, \u003cem>4:44\u003c/em>\u003c/h3>\n\u003cp>I suppose, in an alternate universe where Beyoncé did not dictate all cultural discourse, that Jay-Z could have curved out of the \u003cem>Lemonade\u003c/em> discussion altogether and released another album about business, blackness, and how great it is to be Jay-Z. Instead, he released an album about business, blackness, and how \u003cem>complicated\u003c/em> it is to be Jay-Z. What made \u003cem>4:44\u003c/em> work wasn’t just his frankness about infidelity; anyone in therapy will tell you that when they try to fix a problem, they discover a panoply of other related problems. That’s \u003cem>4:44\u003c/em>. In an unflinching, honest self-examination, Jay-Z is in rare form here. \u003cem>— GM\u003c/em>\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/ozv4q2ov3Mk'\n title='//www.youtube.com/embed/ozv4q2ov3Mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Calvin Harris, \u003cem>Funk Wav Bounces Vol. 1\u003c/em>\u003c/h3>\n\u003cp>Once known for mechanical EDM bangers, Calvin Harris created an unexpectedly soulful hip-hop and R&B smash with \u003cem>Funk Wav Bounces Vol. 1\u003c/em>, an album that sounds like drinking a tequila sunrise on a tropical island at dawn. For this funky collection of four-on-the-floor and two-step tracks, Harris enlisted a cast of A-list collaborators (Young Thug, Katy Perry, Pharrell) and well-chosen newcomers (Kehlani, Khalid, Lil Yachty). The result is not a 2001 “What’s Going On”-esque hodgepodge of celebrity vocalists, but rather a collection of thoughtful, unlikely collaborations. Harris gets Young Thug to belt it out on “Heatstroke” and elicits an animated take from the typically deadpan Big Sean on “Feels,” both feel-good tracks that sound just as great at a family function as they do at a club. But the album’s crown jewel is “Slide,” featuring Frank Ocean and Migos — the first true pop anthem from Ocean since \u003cem>Channel Orange\u003c/em>. \u003cem>— NV\u003c/em>\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/xTjQHfP1KOo'\n title='//www.youtube.com/embed/xTjQHfP1KOo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Washed Out, \u003cem>Mister Mellow\u003c/em>\u003c/h3>\n\u003cp>Washed Out’s Ernest Greene emerged as one of the key players in the “chillwave” movement with his 2009 track “Feel It All Around.” Best remembered as the \u003cem>Portlandia\u003c/em> theme song, it powered Greene into a deal with Sub Pop for his breakthrough LP, \u003cem>Within and Without\u003c/em> in 2011. He became a touring sensation, but endured a lacking effort on 2013’s \u003cem>Paracosm\u003c/em> that nearly faded him into the chill. Enter empresario Peanut Butter Wolf and his legendary Stones Throw label, who signed a re-energized Greene for his first release in four years, \u003cem>Mister Mellow\u003c/em>, far and away the best Washed Out album to date. Gone is the shell of a sub-genre which quickly exhausted Greene’s output, and in its place is welcome experimentation, enthralling psychedelia, and a funky core that slides right into the Stones Throw catalog. Bonus points for the album’s trippy track-by-track visual companion, starring Greene and \u003cem>SNL’s\u003c/em> Kyle Mooney. \u003cem>— AS\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Long before the Migos flow saturated the FM dial, a Vallejo rapper named Mac Dre was perfecting the absurdist call-and-response. Now, more than a decade after Dre’s untimely passing, the Bay Area has another promising hip-hop hero: Nef The Pharaoh, a young E-40 protégé hailing from the Valley-Jo.\u003c/p>\n\u003cp>Nef’s 2017 mixtape, \u003cem>The Chang Project\u003c/em>, is unmistakably a Bay Area affair. But Nef demonstrates his broader ambitions from the jump, merging 707 swag with prevailing trends in chart-topping hip-hop. The lead track, “Chang You Are My Life,” features production that borrows from the Dirty South: trilling, rapid-fire hi-hats, screwed-down vocal manipulations, and a spacey, EDM-inflected sheen. However, the song’s bass line makes it clear that Neffie remains loyal to his hometown. It’s raspy, raw, and undeniably buoyant, recalling some of the grittiest passages from the Luniz’s seminal \u003cem>Operation Stackola\u003c/em> and the bacchanal energy of Mac Dre’s “Feelin’ Myself.”\u003c/p>\n\u003cp>https://youtu.be/FJVxiyiVflg\u003c/p>\n\u003cp>If “Chang You Are My Life” fuses ’90s Bay grooves and modern trap flourishes, the tape’s second track, “Out There,” grafts tropical bass tones onto a golden-era East Coast classic, merging a clonking marimba melody with the shimmying, tribal beat from Busta Rhymes’ innovative 1997 track “Put Your Hands Where My Eyes Can See.”\u003c/p>\n\u003cp>Although \u003cem>The Chang Project\u003c/em> makes gestures of respect to those who have come before, it also looks with determination toward the future. Nef’s biggest name collaborator, Ty Dolla $ign, is applied appropriately on the Architekz-produced “Back Out,” the mixtape’s unabashed lovemaking anthem. Here, Ty croons over another reverberant tropical bass beat, spitting the kind of autotuned lines (“the booty got a mind of its own”) that only he could hope to sing with a straight face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/318578914″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>While Nef the Pharaoh is best known for party songs, \u003cem>The Chang Project\u003c/em> proves that he has range. Throughout the tape, Nef repeatedly reminds the listener of the bleak realities of his hometown, though he’s never more direct than he is on “LOE Gino’s Interlude.” Featuring Berkeley MC LOE Gino, the contemplative song gives a shout-out to Maya Angelou and laments violence, generational trauma, and the paralyzing fear of police brutality.\u003c/p>\n\u003cp>Still, there’s little doubt Neffie knows how to turn up. Case in point: “Bling Blaow,” \u003cem>The Chang Project’s\u003c/em> strongest track by far. With a bombastically simple chorus (“Look at my neck / Bling! Blaow!”) and a fiery guest verse from SOB x RBE’s Slimmy B, the song exemplifies Nef’s ability to seamlessly integrate a multitude of styles, from Mac Dre’s sardonic uptalk to flashy triplet flows.\u003c/p>\n\u003cp>It may just be the perfect bridge between the North Bay and North Atlanta.\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>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before the Migos flow saturated the FM dial, a Vallejo rapper named Mac Dre was perfecting the absurdist call-and-response. Now, more than a decade after Dre’s untimely passing, the Bay Area has another promising hip-hop hero: Nef The Pharaoh, a young E-40 protégé hailing from the Valley-Jo.\u003c/p>\n\u003cp>Nef’s 2017 mixtape, \u003cem>The Chang Project\u003c/em>, is unmistakably a Bay Area affair. But Nef demonstrates his broader ambitions from the jump, merging 707 swag with prevailing trends in chart-topping hip-hop. The lead track, “Chang You Are My Life,” features production that borrows from the Dirty South: trilling, rapid-fire hi-hats, screwed-down vocal manipulations, and a spacey, EDM-inflected sheen. However, the song’s bass line makes it clear that Neffie remains loyal to his hometown. It’s raspy, raw, and undeniably buoyant, recalling some of the grittiest passages from the Luniz’s seminal \u003cem>Operation Stackola\u003c/em> and the bacchanal energy of Mac Dre’s “Feelin’ Myself.”\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/FJVxiyiVflg'\n title='//www.youtube.com/embed/FJVxiyiVflg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If “Chang You Are My Life” fuses ’90s Bay grooves and modern trap flourishes, the tape’s second track, “Out There,” grafts tropical bass tones onto a golden-era East Coast classic, merging a clonking marimba melody with the shimmying, tribal beat from Busta Rhymes’ innovative 1997 track “Put Your Hands Where My Eyes Can See.”\u003c/p>\n\u003cp>Although \u003cem>The Chang Project\u003c/em> makes gestures of respect to those who have come before, it also looks with determination toward the future. Nef’s biggest name collaborator, Ty Dolla $ign, is applied appropriately on the Architekz-produced “Back Out,” the mixtape’s unabashed lovemaking anthem. Here, Ty croons over another reverberant tropical bass beat, spitting the kind of autotuned lines (“the booty got a mind of its own”) that only he could hope to sing with a straight face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/318578914″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/318578914″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While Nef the Pharaoh is best known for party songs, \u003cem>The Chang Project\u003c/em> proves that he has range. Throughout the tape, Nef repeatedly reminds the listener of the bleak realities of his hometown, though he’s never more direct than he is on “LOE Gino’s Interlude.” Featuring Berkeley MC LOE Gino, the contemplative song gives a shout-out to Maya Angelou and laments violence, generational trauma, and the paralyzing fear of police brutality.\u003c/p>\n\u003cp>Still, there’s little doubt Neffie knows how to turn up. Case in point: “Bling Blaow,” \u003cem>The Chang Project’s\u003c/em> strongest track by far. With a bombastically simple chorus (“Look at my neck / Bling! Blaow!”) and a fiery guest verse from SOB x RBE’s Slimmy B, the song exemplifies Nef’s ability to seamlessly integrate a multitude of styles, from Mac Dre’s sardonic uptalk to flashy triplet flows.\u003c/p>\n\u003cp>It may just be the perfect bridge between the North Bay and North Atlanta.\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>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "on-the-air-cy-rachael-gabe-and-sarahs-do-list-picks-for-dec-22-2017",
"title": "On the Air: Cy, Rachael, Gabe and Sarah's Do List Picks for Dec. 22, 2017",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, 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"excerpt": "The Do List looks to the shows we're most excited about in 2018, including an Ingmar Bergman retrospective, a series on California design, a hip-hop exhibit and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Gaelynn Lea is a fiddle player from Duluth, Minnesota with an ear for haunting melodies — both in her original songs and traditional Celtic tunes. She started playing violin because she had a crush on a fellow student in the fifth grade, but at first it wasn’t clear she could physically play the instrument. Lea has what’s called brittle bone disease, a genetic condition, and her bent limbs are prone to fractures. Nonetheless, she and a teacher figured out how she could hold and bow the violin like a cello; she even uses a toe to help brace the instrument.\u003c/p>\n\u003cp>Lea uses a loop pedal to add layers upon layers of sound as she sings from her wheelchair in a high, clear voice. In 2016, she won NPR’s second annual Tiny Desk Contest, shining, as my co-host Rachael Myrow noted, “like a comet out of six thousand contestants.” Gaelynn Lea plays Feb. 10 at Patreon HQ in San Francisco and Feb. 11 at the Hopmonk Tavern in Sonoma — these are shows to plan ahead for, because she’s playing in small rooms that could easily sell out. \u003ca href=\"https://violinscratches.com/shows/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n6oSeODGmoQ&t=75s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gaelynn Lea is a fiddle player from Duluth, Minnesota with an ear for haunting melodies — both in her original songs and traditional Celtic tunes. She started playing violin because she had a crush on a fellow student in the fifth grade, but at first it wasn’t clear she could physically play the instrument. Lea has what’s called brittle bone disease, a genetic condition, and her bent limbs are prone to fractures. Nonetheless, she and a teacher figured out how she could hold and bow the violin like a cello; she even uses a toe to help brace the instrument.\u003c/p>\n\u003cp>Lea uses a loop pedal to add layers upon layers of sound as she sings from her wheelchair in a high, clear voice. In 2016, she won NPR’s second annual Tiny Desk Contest, shining, as my co-host Rachael Myrow noted, “like a comet out of six thousand contestants.” Gaelynn Lea plays Feb. 10 at Patreon HQ in San Francisco and Feb. 11 at the Hopmonk Tavern in Sonoma — these are shows to plan ahead for, because she’s playing in small rooms that could easily sell out. \u003ca href=\"https://violinscratches.com/shows/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n6oSeODGmoQ'\n title='//www.youtube.com/embed/n6oSeODGmoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CkrdiABTcaI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CkrdiABTcaI'\n title='//www.youtube.com/embed/CkrdiABTcaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Current-day rap and R&B is full of woozy 3am heartbreak, maudlin poetry and embarrassing #TMI set to hazy burbling beats that — after 10 or 20 or 82 radio plays — all start to sound the same.\u003c/p>\n\u003cp>Rayana Jay could have ridden that wave: Xanax, introversion, passive-aggressive pleading. Instead, she dropped “Magic,” one of the single-most liberating and joyous songs ever to sprout from Bay Area soil, right in the middle of the harrowing claustrophobia of 2017.\u003c/p>\n\u003cp>Releasing a shameless love song with a buoyant melody amidst so much quasi-moody \u003ca href=\"https://www.youtube.com/watch?v=WrsFXgQk5UI\" target=\"_blank\" rel=\"noopener\">“push me to the edge / all my friends are dead”\u003c/a> pap on the airwaves would be enough to win me over. But the driving, unflinching eighth-note bass riff that carries the song and the playful call-and-response of the chorus is the stuff true hits are made of.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MRhlYlROndM\u003c/p>\n\u003cp>A similar optimism carries \u003cem>Morning After\u003c/em>’s other single, “Everything,” a confession of love over a lithe bounce and a weaving, buzzy sub-bass. Most of \u003cem>Morning After\u003c/em> could be a classic beat tape on its own. In fact, Jay has always had a knack for finding great producers. And though there are some familiar faces in the production credits here (Drew Banga, Mikos tha Gawd, Kev Choice), “Magic” (produced by ROMderful) and “Everything” (Gabriel Lambirth) come from relatively obscure names.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/352925687″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>But there’s discovering a great beat, and there’s knowing what to do with it. \u003cem>Morning After\u003c/em> is filled with Jay’s little, rhythmic vocal mini-hooks (especially in the verses of “Sunkissed” — a celebratory ode “about how much I love my people, how much I love black people,” as \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">she told me\u003c/a> in July). She plays in and around the beat with a jazz singer’s gift — more Sarah than Ella — and makes her imagination sound like canon. Her melodies feel like they’ve always been there, in the air, before she captured them and put them in a song.\u003c/p>\n\u003cp>Imagination, optimism, playfulness — these are sensations that were all too foreign in 2017. With \u003cem>Morning After\u003c/em>, Rayana Jay reminded us that love and happiness aren’t dead yet.\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>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Dee Dee Bridgewater is reminding us at 67 years of age why she’s such a great artist — stretching beyond familiar territory in jazz to dig into classic soul from Memphis, her hometown. She covers Bobby Bland, Al Green and Ann Peebles, among others, on \u003cem>Memphis … Yes I’m Ready\u003c/em>. Fun fact: Bridgewater recorded this latest entirely with musicians from the city. NPR fans will also recall her fine work on NPR’s \u003ca href=\"https://www.npr.org/series/15773330/jazzset-with-dee-dee-bridgewater\" target=\"_blank\" rel=\"noopener\">JazzSet with Dee Dee Bridgewater\u003c/a>. She performs March 8, 2018, at Montalvo Arts Center; \u003ca href=\"http://montalvoarts.org/events/dee_dee_2018/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>Catch a sneak peak of \u003cem>Memphis\u003c/em> as performed in Italy last May:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=5Zr0EQGZo9g]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headTitle": "In Pictures: Sharon Jones Remembered | KQED",
"content": "\u003cp>\u003ca href=\"http://www.33-13.com/\">\u003cem>Jacob Blickenstaff\u003c/em>\u003c/a>\u003cem> is a New York-based music photographer who worked with Sharon Jones and The Dap-Kings extensively since 2009. Here, he shares archival shots of the dearly departed star. Jones’ posthumous album with The Dap-Kings, \u003c/em>Soul of a Woman\u003cem>, was \u003c/em>\u003ca href=\"http://dapt.one/soulofawoman\">\u003cem>released by Daptone Records\u003c/em>\u003c/a>\u003cem> in November.\u003c/em>\u003c/p>\n\u003cp>With a lot of other musical subjects, you wait for the opportunities to show them in the best moments. In a fleeting gesture, they might reveal themselves subconsciously. But \u003ca href=\"https://www.npr.org/artists/15325312/sharon-jones\">Sharon Jones\u003c/a> beamed who she was right at you, from the first minute to the last. It was more about rising to her level of commitment and the way she gave herself over to the music. You had to keep up with her. She was going to give you a lot, but you had to act fast in order to gather and distill as much of that energy into a photograph as you could.\u003c/p>\n\u003cp>As many of her friends and bandmates did, I loved Sharon. I think my deepest motivation was to be a witness of who she was and reflect it back to her in pictures. I’m proud to have worked on several album covers and publicity portraits for Daptone, but a deeper personal current ran beneath it all. We weren’t close socially, we didn’t correspond or talk on the phone, but I always felt an intimacy when I was around her, and she seemed to understand what I was doing. I remember meeting her backstage after not seeing her for a while and she said matter-of-factly, “Oh, it’s Jacob with the pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13817866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2009, Highline Ballroom\u003c/strong> — Sharon Jones and The Dap-Kings performing. This was the first time photographing them and I was lucky to catch them in a smaller room.\u003c/p>\n\u003cfigure id=\"attachment_13817867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2009, Brooklyn Bowl\u003c/strong> — As a regular part of Sharon’s show she’d invite people up to dance with her. Sometimes her dancing partners were a little awkward, but she loved the interaction and the exchange of energy directly with fans.\u003c/p>\n\u003cfigure id=\"attachment_13817868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817868\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August, 2012, Williamsburg Waterfront \u003c/strong>— This image really captures her sassy command of the stage. I remember the excitement of shooting from the stage; it allowed me to sense the relationship of her with her audience and when the band was locked in with her I could sync up with their energy and document the experience from within.\u003c/p>\n\u003cfigure id=\"attachment_13817869\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March, 2013, New York\u003c/strong> — This was from a promotional portrait shoot commissioned by the label. The work stayed in the can for several years, as right after this Sharon got her cancer diagnosis and took the better part of a year for treatment. Someone had the good sense to go out and buy some flowers, which really softened up the image. By default, I always directed Sharon to look tough, but being more comfortable with each other I became aware of a very sweet side of her, and remember the quiet intimacy of that day.\u003c/p>\n\u003cfigure id=\"attachment_13817870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2014, Beacon Theater\u003c/strong> — I didn’t really know about Sharon’s spiritual dimension until the time of this picture. I learned that leading up to a performance, Starr Duncan (left) and Saundra Williams (right) would often say a prayer together with Sharon, which was an important part of focusing the emotional energy that she would bring to her performances.\u003c/p>\n\u003cfigure id=\"attachment_13817871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon, and nearly the entire Daptone roster, returned to the Apollo Theater for three nights, for the “Daptone Super Soul Revue.” My most personal memories of Sharon are being one-on-one with her in her dressing room. I’m very humbled that she’d let me in to that space. I felt fully accepted, and I hope she felt fully seen.\u003c/p>\n\u003cfigure id=\"attachment_13817872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-520x378.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A sequence shot on film. Her performances were so physical, I was always looking for the subtleties (and not-so-subtleties) of her body language.\u003c/p>\n\u003cfigure id=\"attachment_13817873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon doing what she did best: working a room.\u003c/p>\n\u003cfigure id=\"attachment_13817874\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-520x356.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A multiple-exposure image. With a big group like the Dap-Kings, it’s hard to get all of them in a live photo and at the same time do justice to Sharon’s energy. But Sharon and the Dap-Kings have a very symbiotic relationship, they rose to match Sharon’s performance, and Sharon operated at her peak because of their musical excellence. The whole is greater than the sum of the parts.\u003c/p>\n\u003cfigure id=\"attachment_13817875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon was always humble, but in this case was deservedly proud over the news. The day of one of the Apollo shows, it was announced that \u003cem>Give The People What They Want \u003c/em>was nominated for a Grammy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13817876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-96x96.jpg 96w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>\u003cstrong>March, 2015\u003c/strong> — This is an outtake from the album cover shoot for \u003cem>It’s a Holiday Soul Party\u003c/em>. She was never a diva on set, but I remember that at this point of the shoot she was improvising lyrics to the effect of: “Let’s get this damn photo over so we can eat lunch.”\u003c/p>\n\u003cfigure id=\"attachment_13817877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — The band was opening for Daryl Hall and John Oates. In the green room, around her band, management and close friends, she was a very playful and funny person.\u003c/p>\n\u003cfigure id=\"attachment_13817878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — Sharon as seen between Joey Crispiano (left) and Gabe Roth (right).\u003c/p>\n\u003cfigure id=\"attachment_13817882\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-520x779.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — An unglamorous dressing trailer in back of a very hot, outdoor venue in Indiana. This one’s hard to talk about because it was the last time I had a private moment with her. I was in quiet awe being there with her as she transformed for the stage. She was speaking quietly about wanting to leave behind as much as she could musically for her fans, her band and her label. She was pushing for everyone else from a place of deep-selflessness and generosity.\u003c/p>\n\u003cfigure id=\"attachment_13817881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — On tour with Daryl Hall and John Oates, the Dap-Kings convinced Oates to perform an obscure single he had cut as a teenager in Philadelphia called “I Need Your Love.” The band learned the music and they rehearsed it at soundcheck to perform that night as a duet. It was a moment of pure fun for the band and Sharon.\u003c/p>\n\u003cfigure id=\"attachment_13817879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — When I came to this show, I wasn’t sure if I was going to photograph it or just hang out. Sometimes it’s easy to rest and think that I’ve made enough pictures of Sharon performing, but there was something special about this show, Sharon and the band were just ferocious. It was an important lesson: if Sharon can push herself like that every time, then I should get off my butt whenever I think what I’ve already done is “good enough.”\u003c/p>\n\u003cfigure id=\"attachment_13817880\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — After the show, Sharon (Jones) met with Sharon (Van Etten). This photo reminds me that every musician that I’ve talked with about Sharon has a tremendous respect for her. Almost universally, they knew she was the real thing and how much it took to do what she did.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pictures%3A+Sharon+Jones+Remembered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Photographer Jacob Blickenstaff documented Sharon Jones for years both on- and off-stage. Here, he shares archival shots of the dearly departed star.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.33-13.com/\">\u003cem>Jacob Blickenstaff\u003c/em>\u003c/a>\u003cem> is a New York-based music photographer who worked with Sharon Jones and The Dap-Kings extensively since 2009. Here, he shares archival shots of the dearly departed star. Jones’ posthumous album with The Dap-Kings, \u003c/em>Soul of a Woman\u003cem>, was \u003c/em>\u003ca href=\"http://dapt.one/soulofawoman\">\u003cem>released by Daptone Records\u003c/em>\u003c/a>\u003cem> in November.\u003c/em>\u003c/p>\n\u003cp>With a lot of other musical subjects, you wait for the opportunities to show them in the best moments. In a fleeting gesture, they might reveal themselves subconsciously. But \u003ca href=\"https://www.npr.org/artists/15325312/sharon-jones\">Sharon Jones\u003c/a> beamed who she was right at you, from the first minute to the last. It was more about rising to her level of commitment and the way she gave herself over to the music. You had to keep up with her. She was going to give you a lot, but you had to act fast in order to gather and distill as much of that energy into a photograph as you could.\u003c/p>\n\u003cp>As many of her friends and bandmates did, I loved Sharon. I think my deepest motivation was to be a witness of who she was and reflect it back to her in pictures. I’m proud to have worked on several album covers and publicity portraits for Daptone, but a deeper personal current ran beneath it all. We weren’t close socially, we didn’t correspond or talk on the phone, but I always felt an intimacy when I was around her, and she seemed to understand what I was doing. I remember meeting her backstage after not seeing her for a while and she said matter-of-factly, “Oh, it’s Jacob with the pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13817866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2009, Highline Ballroom\u003c/strong> — Sharon Jones and The Dap-Kings performing. This was the first time photographing them and I was lucky to catch them in a smaller room.\u003c/p>\n\u003cfigure id=\"attachment_13817867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2009, Brooklyn Bowl\u003c/strong> — As a regular part of Sharon’s show she’d invite people up to dance with her. Sometimes her dancing partners were a little awkward, but she loved the interaction and the exchange of energy directly with fans.\u003c/p>\n\u003cfigure id=\"attachment_13817868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817868\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August, 2012, Williamsburg Waterfront \u003c/strong>— This image really captures her sassy command of the stage. I remember the excitement of shooting from the stage; it allowed me to sense the relationship of her with her audience and when the band was locked in with her I could sync up with their energy and document the experience from within.\u003c/p>\n\u003cfigure id=\"attachment_13817869\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March, 2013, New York\u003c/strong> — This was from a promotional portrait shoot commissioned by the label. The work stayed in the can for several years, as right after this Sharon got her cancer diagnosis and took the better part of a year for treatment. Someone had the good sense to go out and buy some flowers, which really softened up the image. By default, I always directed Sharon to look tough, but being more comfortable with each other I became aware of a very sweet side of her, and remember the quiet intimacy of that day.\u003c/p>\n\u003cfigure id=\"attachment_13817870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2014, Beacon Theater\u003c/strong> — I didn’t really know about Sharon’s spiritual dimension until the time of this picture. I learned that leading up to a performance, Starr Duncan (left) and Saundra Williams (right) would often say a prayer together with Sharon, which was an important part of focusing the emotional energy that she would bring to her performances.\u003c/p>\n\u003cfigure id=\"attachment_13817871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon, and nearly the entire Daptone roster, returned to the Apollo Theater for three nights, for the “Daptone Super Soul Revue.” My most personal memories of Sharon are being one-on-one with her in her dressing room. I’m very humbled that she’d let me in to that space. I felt fully accepted, and I hope she felt fully seen.\u003c/p>\n\u003cfigure id=\"attachment_13817872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-520x378.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A sequence shot on film. Her performances were so physical, I was always looking for the subtleties (and not-so-subtleties) of her body language.\u003c/p>\n\u003cfigure id=\"attachment_13817873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon doing what she did best: working a room.\u003c/p>\n\u003cfigure id=\"attachment_13817874\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-520x356.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A multiple-exposure image. With a big group like the Dap-Kings, it’s hard to get all of them in a live photo and at the same time do justice to Sharon’s energy. But Sharon and the Dap-Kings have a very symbiotic relationship, they rose to match Sharon’s performance, and Sharon operated at her peak because of their musical excellence. The whole is greater than the sum of the parts.\u003c/p>\n\u003cfigure id=\"attachment_13817875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon was always humble, but in this case was deservedly proud over the news. The day of one of the Apollo shows, it was announced that \u003cem>Give The People What They Want \u003c/em>was nominated for a Grammy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13817876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-96x96.jpg 96w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>\u003cstrong>March, 2015\u003c/strong> — This is an outtake from the album cover shoot for \u003cem>It’s a Holiday Soul Party\u003c/em>. She was never a diva on set, but I remember that at this point of the shoot she was improvising lyrics to the effect of: “Let’s get this damn photo over so we can eat lunch.”\u003c/p>\n\u003cfigure id=\"attachment_13817877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — The band was opening for Daryl Hall and John Oates. In the green room, around her band, management and close friends, she was a very playful and funny person.\u003c/p>\n\u003cfigure id=\"attachment_13817878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — Sharon as seen between Joey Crispiano (left) and Gabe Roth (right).\u003c/p>\n\u003cfigure id=\"attachment_13817882\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-520x779.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — An unglamorous dressing trailer in back of a very hot, outdoor venue in Indiana. This one’s hard to talk about because it was the last time I had a private moment with her. I was in quiet awe being there with her as she transformed for the stage. She was speaking quietly about wanting to leave behind as much as she could musically for her fans, her band and her label. She was pushing for everyone else from a place of deep-selflessness and generosity.\u003c/p>\n\u003cfigure id=\"attachment_13817881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — On tour with Daryl Hall and John Oates, the Dap-Kings convinced Oates to perform an obscure single he had cut as a teenager in Philadelphia called “I Need Your Love.” The band learned the music and they rehearsed it at soundcheck to perform that night as a duet. It was a moment of pure fun for the band and Sharon.\u003c/p>\n\u003cfigure id=\"attachment_13817879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — When I came to this show, I wasn’t sure if I was going to photograph it or just hang out. Sometimes it’s easy to rest and think that I’ve made enough pictures of Sharon performing, but there was something special about this show, Sharon and the band were just ferocious. It was an important lesson: if Sharon can push herself like that every time, then I should get off my butt whenever I think what I’ve already done is “good enough.”\u003c/p>\n\u003cfigure id=\"attachment_13817880\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — After the show, Sharon (Jones) met with Sharon (Van Etten). This photo reminds me that every musician that I’ve talked with about Sharon has a tremendous respect for her. Almost universally, they knew she was the real thing and how much it took to do what she did.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pictures%3A+Sharon+Jones+Remembered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Jan. 21 Women’s March, \u003cem>Girls Trip\u003c/em>, Weinstein, #MeToo, “Cat Person,” \u003cem>Lady Bird\u003c/em> — here’s hoping the curve toward women’s perspectives continues in 2018, and that it might be able to be as fun and celebratory as Dua Lipa’s “New Rules”:\u003c/p>\n\u003cblockquote>\u003cp>One, don’t pick up the phone / You know he’s only calling ’cause he’s drunk and alone\u003cbr>\nTwo, don’t let him in / You’ll have to kick him out again\u003cbr>\nThree, don’t be his friend / You know you’re gonna wake up in his bed in the morning\u003cbr>\nAnd if you’re under him, You ain’t getting over him\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=k2qgadSvNyU\u003c/p>\n\u003cp>It’s always a little exciting to see a pop star on the precipice, like Lady Gaga in 2008 or Amy Winehouse in 2005. It’s still too early to tell if Dua Lipa is headed for those heights, but judging from the year she’s had and her undeniable talent and charisma, this is going to be one of those shows everyone has their eye on. She plays Feb. 13 at the Masonic; \u003ca href=\"http://sfmasonic.com/event/dua-lipa/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"hidden-brain": {
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"hyphenacion": {
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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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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"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. ",
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"order": 18
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"title": "Latino USA",
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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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"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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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"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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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"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",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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