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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The receipts from \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen\u003c/a>‘s \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/09/533227031/bruce-springsteen-is-headed-to-broadway-for-an-intimate-series-of-performances\" target=\"_blank\" rel=\"noopener\">first week on Broadway\u003c/a> are in. The Boss, over five sold-out performances, grossed $2.33 million — or about $466,000 per night. The sum beat out every production other than \u003cem>Hamilton\u003c/em> (with $2.92 million in gross earnings) and \u003cem>Hello, Dolly!\u003c/em> (with $2.34 million in gross earnings), \u003ca href=\"https://www.broadwayleague.com/research/grosses-broadway-nyc/\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to The Broadway League.\u003c/p>\n\u003cp>\u003cem>Springsteen On Broadway\u003c/em>, which sold out immediately, had its initial run at the Walter Kerr Theatre extended into February, for a total of 79 performances. (It was originally scheduled to end in November.) It “is probably the smallest venue I’ve played in the last 40 years,” Springsteen wrote in the initial announcement. “My show is just me, the guitar, the piano and the words and music.”\u003c/p>\n\u003cp>The show is an intimate, stripped-down tour through Springsteen’s work and history from a script he penned himself. Despite the bare-bones production — the show has no director — he enlisted two of Broadway’s best: the Tony Award-winning lighting designer Natasha Katz and sound designer Brian Ronan.\u003c/p>\n\u003cp>“It’s going to feel like a garage workshop basically, and I’m going to play my songs and tell my stories. So it wasn’t something that called for a whole lot more than that,” Springsteen \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/bruce-springsteen-broadway.html\">told \u003cem>The New York Times\u003c/em>\u003c/a>. \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=%27Springsteen+On+Broadway%27+Makes+A+Tidy+Sum+Its+First+Week&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Homages and Tributes for the Thelonious Monk Centennial, But No Competition (For Now)",
"headTitle": "Homages and Tributes for the Thelonious Monk Centennial, But No Competition (For Now) | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, the incomparably influential jazz composer and pianist, would have turned 100 today, and across the country a healthy range of commemorative tributes is already underway. But the flagship event that bears his name has quietly been put on hold: the next Thelonious Monk International Jazz Competition, which at one point had been scheduled for this week at the Kennedy Center in Washington, will not happen in 2017.\u003c/p>\n\u003cp>Tom Carter — president and cofounder of the \u003ca href=\"http://monkinstitute.org/\">Thelonious Monk Institute of Jazz\u003c/a>, the nonprofit organization that runs the competition — cited a recent barrage of natural disasters, and the pursuant philanthropic strain, as factors in the decision.\u003c/p>\n\u003cp>“This is our only benefit each year,” he said. “We do all of our programs for free, year-round. So mixed with many other things is: This is not the time to be doing a benefit, with all of the money being raised around relief for these hurricanes and earthquakes, and so on.”\u003c/p>\n\u003cfigure id=\"attachment_13811092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg\" alt=\"Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013. \u003ccite>(Mahmut Ceylan/Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Institute operates a range of educational programs — the most visible of which is a two-year postgraduate program, the Thelonious Monk Institute of Jazz Performance, currently housed at the UCLA Herb Alpert School of Music. In partnership with UNESCO, the institute also plans and organizes International Jazz Day, held each April 30 as the culmination of Jazz Appreciation Month. Just yesterday, UNESCO \u003ca href=\"https://en.unesco.org/news/saint-petersburg-and-sydney-selected-international-jazz-day-global-host-cities\" target=\"_blank\" rel=\"noopener\">announced the next two global host cities\u003c/a> for International Jazz Day: Saint Petersburg, Russia (2018) and Sydney, Australia (2019).\u003c/p>\n\u003cp>Against this hum of organizational activity, the absence of a competition in 2017 is unfortunate for more than just the obvious reasons. In addition to being the centennial of Monk’s birth, 2017 marks the 30th anniversary of the Monk Competition, which has been the most prestigious and consequential event of its kind in jazz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since 1987, when its inaugural first prize went to pianist Marcus Roberts, the Monk Competition has produced a head-turning succession of poised young winners — including now-marquee names like saxophonists \u003ca href=\"http://www.npr.org/artists/14996492/joshua-redman\" target=\"_blank\" rel=\"noopener\">Joshua Redman\u003c/a> and Melissa Aldana, pianists \u003ca href=\"http://www.npr.org/artists/90602627/jacky-terrasson\" target=\"_blank\" rel=\"noopener\">Jacky Terrasson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/113277821/tigran-hamasyan\" target=\"_blank\" rel=\"noopener\">Tigran Hamasyan\u003c/a>, trumpeters \u003ca href=\"http://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> and Ryan Kisor, and singers \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> and \u003ca href=\"http://www.npr.org/artists/453239708/cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Cécile McLorin Salvant\u003c/a>. (The Monk Institute website has \u003ca href=\"http://monkinstitute.org/competition/past-winners-and-judges/\" target=\"_blank\" rel=\"noopener\">a comprehensive list\u003c/a> of past finalists and judges — one could build a deep bench by scanning who came in second and third each year.)\u003c/p>\n\u003cp>T.S. Monk, who describes himself as the gatekeeper of his father’s legacy, takes unabashed pride in the competition’s alumni circle. “Early on I said, ‘We want to really help develop the next generation of young jazz musicians,'” he noted. “I think I can say with a fair amount of confidence that we’ve probably put more actual stars in the marketplace than any other jazz organization.”\u003c/p>\n\u003cfigure id=\"attachment_13811093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-800x450.jpg\" alt=\"T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey. \u003ccite>(Imeh Akpanudosen/Getty Images for Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Competition has a rotating instrumental focus, and this year’s spotlight was to fall on the piano, another missed opportunity in this centennial year. Roughly a dozen semifinalists had been selected and notified by a jury committee — and they’re still in the running, despite some chatter that the competition had been canceled. “I don’t know where that rumor circulated, but that is not accurate,” Carter responded. “It’s postponed; it is not canceled. I’m not sure exactly when we’re going to have it, but it will be sometime after the first of the year.”\u003c/p>\n\u003cp>The most recent Monk Competition took place in November 2015, when Jazzmeia Horn won in the vocal category. One of the early signs that this year’s event might not proceed as planned was a conflicting engagement: several months ago, Jazz at Lincoln Center updated its schedule to show that T.S. Monk would be spending this week in New York, rather than Washington, D.C. The T.S. Monk Sextet appears on Tuesday and Wednesday at Dizzy’s Club Coca-Cola.\u003c/p>\n\u003cp>When asked directly whether he would be involved the Monk Competition going forward, he responded briskly: “I’m sure I will,” he said. “I’ve been involved in every competition we’ve ever had, and I don’t foresee that changing at all.”\u003c/p>\n\u003cp>While this year’s competition is on hold, there’s an abundance of Monk centennial activity to choose from. Pianist \u003ca href=\"http://www.npr.org/artists/17777248/dan-lo-perez\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a> is on tour with his fine project PanaMonk; John Beasley, another pianist and composer, has \u003ca href=\"http://wbgo.org/post/john-beasley-bearing-new-evidence-announces-his-monkestra-vol-2\" target=\"_blank\" rel=\"noopener\">a new album by his MONK’estra\u003c/a>, and will be at the Jazz Standard this Thursday through Saturday. The Institute of Jazz Studies at Rutgers in Newark has organized a monthlong series of events called Monktoberfest, including a conversation between T.S. Monk and Monk biographer Robin D.G. Kelley, moderated by WBGO’s Sheila Anderson. (That event is \u003ca href=\"https://www.eventbrite.com/e/in-conversation-robin-dg-kelley-and-ts-monk-with-sheila-anderson-tickets-38341682003?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=esfb&utm-source=fb&utm-term=listing\" target=\"_blank\" rel=\"noopener\">today at noon\u003c/a>, at Express Newark.)\u003c/p>\n\u003cfigure id=\"attachment_13811094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png\" alt=\"Jason Moran performing 'In My Mind: Monk At Town Hall, 1959' at the Kennedy Center in 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e.png 1397w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran performing ‘In My Mind: Monk At Town Hall, 1959’ at the Kennedy Center in 2015. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Kennedy Center, where the competition was originally scheduled, a tribute was held this past Sunday by pianist Jason Moran, who will also present his project \u003ca href=\"http://www.npr.org/event/music/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\">IN MY MIND: Monk at Town Hall 1959\u003c/a> on Saturday at SFJAZZ.\u003c/p>\n\u003cp>At Jazz at Lincoln Center, a free Thelonious Monk Symposium will be held on Thursday and Friday. Thursday’s program will include Unheard Thelonious Monk Tapes, a listening party featuring previously unheard material, and insight from panelists including Monk biographer Robin D.G. Kelley. On Friday, Zev Feldman and Greg Thomas will discuss Monk’s recently issued \u003ca href=\"http://wbgo.org/post/new-thelonious-monk-album-emerges-soundtrack-classic-french-film\">soundtrack to \u003cem>Les Liaisons Dangereuses\u003c/em>\u003c/a>, and screen the film.\u003c/p>\n\u003cp>And Duke Performances, in Monk’s original home state of North Carolina, is presenting \u003ca href=\"https://dukeperformances.duke.edu/residencies/monk100/\">Monk@100\u003c/a>, an ambitious and intriguing 10-day concert series curated by pianist Ethan Iverson. The series kicks off next week with a three-day residency by The \u003ca href=\"http://www.npr.org/artists/111775333/jd-allen\">J.D. Allen\u003c/a> Trio, featuring guitarist \u003ca href=\"http://www.npr.org/artists/14982703/bill-frisell\">Bill Frisell\u003c/a> (Oct. 17), trumpeter \u003ca href=\"http://www.npr.org/artists/17972185/dave-douglas\">Dave Douglas\u003c/a> (Oct. 18) and pianist Kris Davis (Oct. 19). Moran will perform in a duo with percussionist \u003ca href=\"http://www.npr.org/artists/113090823/tyshawn-sorey\">Tyshawn Sorey\u003c/a> (Oct. 20), and a program called Monk Songbook (Oct. 21-22) will feature Iverson with a handful of other pianists.\u003c/p>\n\u003cp>From Oct. 23 to 26, Iverson will be in residence with a trio, featuring bassist David Williams and drummer Victor Lewis, and a succession of prominent saxophonists — including a few with personal experience in the Monk Competition, like Melissa Aldana (Oct. 23), \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\">Chris Potter\u003c/a> (Oct. 24) and Joshua Redman (Oct. 25).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>T.S. Monk characterized the outpouring of centennial tributes as a validation of sorts, and entirely separate from the issue of the competition. “When I was five years old, people would say to me: ‘Fifty years from now, your father will probably be more famous and his music will be more important than it is today,'” he said. “Today I’m 67 years old, and Thelonious is bigger, and his music is more important, than ever. So all of this attention on the centennial, for me, is confirmation of things that people told me when I was a little kid. It has certainly come to fruition. I’m amazed and very, very happy for him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Homages+and+Tributes+for+the+Thelonious+Monk+Centennial%2C+But+No+Competition+%28For+Now%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, the incomparably influential jazz composer and pianist, would have turned 100 today, and across the country a healthy range of commemorative tributes is already underway. But the flagship event that bears his name has quietly been put on hold: the next Thelonious Monk International Jazz Competition, which at one point had been scheduled for this week at the Kennedy Center in Washington, will not happen in 2017.\u003c/p>\n\u003cp>Tom Carter — president and cofounder of the \u003ca href=\"http://monkinstitute.org/\">Thelonious Monk Institute of Jazz\u003c/a>, the nonprofit organization that runs the competition — cited a recent barrage of natural disasters, and the pursuant philanthropic strain, as factors in the decision.\u003c/p>\n\u003cp>“This is our only benefit each year,” he said. “We do all of our programs for free, year-round. So mixed with many other things is: This is not the time to be doing a benefit, with all of the money being raised around relief for these hurricanes and earthquakes, and so on.”\u003c/p>\n\u003cfigure id=\"attachment_13811092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg\" alt=\"Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013. \u003ccite>(Mahmut Ceylan/Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Institute operates a range of educational programs — the most visible of which is a two-year postgraduate program, the Thelonious Monk Institute of Jazz Performance, currently housed at the UCLA Herb Alpert School of Music. In partnership with UNESCO, the institute also plans and organizes International Jazz Day, held each April 30 as the culmination of Jazz Appreciation Month. Just yesterday, UNESCO \u003ca href=\"https://en.unesco.org/news/saint-petersburg-and-sydney-selected-international-jazz-day-global-host-cities\" target=\"_blank\" rel=\"noopener\">announced the next two global host cities\u003c/a> for International Jazz Day: Saint Petersburg, Russia (2018) and Sydney, Australia (2019).\u003c/p>\n\u003cp>Against this hum of organizational activity, the absence of a competition in 2017 is unfortunate for more than just the obvious reasons. In addition to being the centennial of Monk’s birth, 2017 marks the 30th anniversary of the Monk Competition, which has been the most prestigious and consequential event of its kind in jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since 1987, when its inaugural first prize went to pianist Marcus Roberts, the Monk Competition has produced a head-turning succession of poised young winners — including now-marquee names like saxophonists \u003ca href=\"http://www.npr.org/artists/14996492/joshua-redman\" target=\"_blank\" rel=\"noopener\">Joshua Redman\u003c/a> and Melissa Aldana, pianists \u003ca href=\"http://www.npr.org/artists/90602627/jacky-terrasson\" target=\"_blank\" rel=\"noopener\">Jacky Terrasson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/113277821/tigran-hamasyan\" target=\"_blank\" rel=\"noopener\">Tigran Hamasyan\u003c/a>, trumpeters \u003ca href=\"http://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> and Ryan Kisor, and singers \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> and \u003ca href=\"http://www.npr.org/artists/453239708/cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Cécile McLorin Salvant\u003c/a>. (The Monk Institute website has \u003ca href=\"http://monkinstitute.org/competition/past-winners-and-judges/\" target=\"_blank\" rel=\"noopener\">a comprehensive list\u003c/a> of past finalists and judges — one could build a deep bench by scanning who came in second and third each year.)\u003c/p>\n\u003cp>T.S. Monk, who describes himself as the gatekeeper of his father’s legacy, takes unabashed pride in the competition’s alumni circle. “Early on I said, ‘We want to really help develop the next generation of young jazz musicians,'” he noted. “I think I can say with a fair amount of confidence that we’ve probably put more actual stars in the marketplace than any other jazz organization.”\u003c/p>\n\u003cfigure id=\"attachment_13811093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-800x450.jpg\" alt=\"T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey. \u003ccite>(Imeh Akpanudosen/Getty Images for Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Competition has a rotating instrumental focus, and this year’s spotlight was to fall on the piano, another missed opportunity in this centennial year. Roughly a dozen semifinalists had been selected and notified by a jury committee — and they’re still in the running, despite some chatter that the competition had been canceled. “I don’t know where that rumor circulated, but that is not accurate,” Carter responded. “It’s postponed; it is not canceled. I’m not sure exactly when we’re going to have it, but it will be sometime after the first of the year.”\u003c/p>\n\u003cp>The most recent Monk Competition took place in November 2015, when Jazzmeia Horn won in the vocal category. One of the early signs that this year’s event might not proceed as planned was a conflicting engagement: several months ago, Jazz at Lincoln Center updated its schedule to show that T.S. Monk would be spending this week in New York, rather than Washington, D.C. The T.S. Monk Sextet appears on Tuesday and Wednesday at Dizzy’s Club Coca-Cola.\u003c/p>\n\u003cp>When asked directly whether he would be involved the Monk Competition going forward, he responded briskly: “I’m sure I will,” he said. “I’ve been involved in every competition we’ve ever had, and I don’t foresee that changing at all.”\u003c/p>\n\u003cp>While this year’s competition is on hold, there’s an abundance of Monk centennial activity to choose from. Pianist \u003ca href=\"http://www.npr.org/artists/17777248/dan-lo-perez\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a> is on tour with his fine project PanaMonk; John Beasley, another pianist and composer, has \u003ca href=\"http://wbgo.org/post/john-beasley-bearing-new-evidence-announces-his-monkestra-vol-2\" target=\"_blank\" rel=\"noopener\">a new album by his MONK’estra\u003c/a>, and will be at the Jazz Standard this Thursday through Saturday. The Institute of Jazz Studies at Rutgers in Newark has organized a monthlong series of events called Monktoberfest, including a conversation between T.S. Monk and Monk biographer Robin D.G. Kelley, moderated by WBGO’s Sheila Anderson. (That event is \u003ca href=\"https://www.eventbrite.com/e/in-conversation-robin-dg-kelley-and-ts-monk-with-sheila-anderson-tickets-38341682003?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=esfb&utm-source=fb&utm-term=listing\" target=\"_blank\" rel=\"noopener\">today at noon\u003c/a>, at Express Newark.)\u003c/p>\n\u003cfigure id=\"attachment_13811094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png\" alt=\"Jason Moran performing 'In My Mind: Monk At Town Hall, 1959' at the Kennedy Center in 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e.png 1397w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran performing ‘In My Mind: Monk At Town Hall, 1959’ at the Kennedy Center in 2015. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Kennedy Center, where the competition was originally scheduled, a tribute was held this past Sunday by pianist Jason Moran, who will also present his project \u003ca href=\"http://www.npr.org/event/music/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\">IN MY MIND: Monk at Town Hall 1959\u003c/a> on Saturday at SFJAZZ.\u003c/p>\n\u003cp>At Jazz at Lincoln Center, a free Thelonious Monk Symposium will be held on Thursday and Friday. Thursday’s program will include Unheard Thelonious Monk Tapes, a listening party featuring previously unheard material, and insight from panelists including Monk biographer Robin D.G. Kelley. On Friday, Zev Feldman and Greg Thomas will discuss Monk’s recently issued \u003ca href=\"http://wbgo.org/post/new-thelonious-monk-album-emerges-soundtrack-classic-french-film\">soundtrack to \u003cem>Les Liaisons Dangereuses\u003c/em>\u003c/a>, and screen the film.\u003c/p>\n\u003cp>And Duke Performances, in Monk’s original home state of North Carolina, is presenting \u003ca href=\"https://dukeperformances.duke.edu/residencies/monk100/\">Monk@100\u003c/a>, an ambitious and intriguing 10-day concert series curated by pianist Ethan Iverson. The series kicks off next week with a three-day residency by The \u003ca href=\"http://www.npr.org/artists/111775333/jd-allen\">J.D. Allen\u003c/a> Trio, featuring guitarist \u003ca href=\"http://www.npr.org/artists/14982703/bill-frisell\">Bill Frisell\u003c/a> (Oct. 17), trumpeter \u003ca href=\"http://www.npr.org/artists/17972185/dave-douglas\">Dave Douglas\u003c/a> (Oct. 18) and pianist Kris Davis (Oct. 19). Moran will perform in a duo with percussionist \u003ca href=\"http://www.npr.org/artists/113090823/tyshawn-sorey\">Tyshawn Sorey\u003c/a> (Oct. 20), and a program called Monk Songbook (Oct. 21-22) will feature Iverson with a handful of other pianists.\u003c/p>\n\u003cp>From Oct. 23 to 26, Iverson will be in residence with a trio, featuring bassist David Williams and drummer Victor Lewis, and a succession of prominent saxophonists — including a few with personal experience in the Monk Competition, like Melissa Aldana (Oct. 23), \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\">Chris Potter\u003c/a> (Oct. 24) and Joshua Redman (Oct. 25).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>T.S. Monk characterized the outpouring of centennial tributes as a validation of sorts, and entirely separate from the issue of the competition. “When I was five years old, people would say to me: ‘Fifty years from now, your father will probably be more famous and his music will be more important than it is today,'” he said. “Today I’m 67 years old, and Thelonious is bigger, and his music is more important, than ever. So all of this attention on the centennial, for me, is confirmation of things that people told me when I was a little kid. It has certainly come to fruition. I’m amazed and very, very happy for him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Homages+and+Tributes+for+the+Thelonious+Monk+Centennial%2C+But+No+Competition+%28For+Now%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "echoes-kronos-quartet-youth-speaks-impacts-of-gentrification",
"title": "'Echoes' Confronted Theater-Goers With Impacts of Gentrification",
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"headTitle": "‘Echoes’ Confronted Theater-Goers With Impacts of Gentrification | KQED",
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"content": "\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Kronos Quartet and Youth Speaks' collaboration didn't mince words when calling out social injustices.",
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"title": "'Echoes' Confronted Theater-Goers With Impacts of Gentrification | KQED",
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"headline": "'Echoes' Confronted Theater-Goers With Impacts of Gentrification",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-choruses-sing-out-in-mississippi-against-anti-gay-bill",
"title": "Bay Area Choruses Sing Out in Mississippi Against Anti-Gay Bill",
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"content": "\u003cp>Around 200 members of the \u003ca href=\"http://www.sfgmc.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a>, together with some 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, gathered on the steps of the State Capitol Building in Jackson, MS to sing a message of love and unity on Sunday.\u003c/p>\n\u003cp>https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/GayMensChoruslongcut.mp3\u003c/p>\n\u003cp>The gesture kicked off a concert and outreach tour of five southern states — Mississippi, Alabama, Tennessee, South Carolina and North Carolina — and was intended as a powerful message to state legislators just days before a controversial law, \u003ca href=\"http://billstatus.ls.state.ms.us/documents/2016/html/HB/1500-1599/HB1523SG.htm\" target=\"_blank\" rel=\"noopener\">House Bill 1523\u003c/a>, takes effect across the state.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also known as “The \u003c/span>Religious Liberty Accommodations Act\u003cspan style=\"font-weight: 400\">,” HB 1523\u003c/span>\u003cspan style=\"font-weight: 400\"> gives businesses the right to refuse service to LGBTQ people due to religious views or preferences.\u003c/span>\u003c/p>\n\u003cp>“As of this week it will be legal for any business owner in Mississippi to tell your pastor he can’t have lunch in their establishment, to tell me I can’t sleep in their inn, to tell me I can’t buy from their shelves,” said Robert Lowry, pastor of \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.fondrenpcusa.org/\" target=\"_blank\" rel=\"noopener\">Fondren Presbyterian Church\u003c/a> in Jackson. Lowry spoke with passion about the bill during his Sunday morning sermon, at which select Gay Men’s Chorus members sang. Lowry is gay. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg\" alt=\"Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lowry said this week is a turning point for Mississippi because of the passing of the highly-contested bill, and that the Bay Area singers’ visit sends a powerful message.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The religious liberty law is really a law for discrimination,” Lowry said in an interview before the service. “It’s important the choir is visiting right now, coming and celebrating and sharing their gifts and bringing this message of wholeness and peace and community into our community.”\u003c/p>\n\u003cfigure id=\"attachment_13810853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg\" alt=\"A pair of SF Gay Mens Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands.\" width=\"800\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1020x887.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1920x1670.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-960x835.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-240x209.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-520x452.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pair of SF Gay Men’s Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands. \u003ccite>(Photo: Chloe Veltma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spreading a sense of hope and solidarity to some of the most vulnerable parts of the country’s LGBTQ community is one of the main goals of the Gay Men’s Chorus’s “Lavender Pen” tour. \u003cspan style=\"font-weight: 400\">The chorus canceled its 40th anniversary international tour plans a few days after last November’s presidential elections in order to undertake what the organization felt was a more pressing outreach mission at home. \u003c/span>\u003c/p>\n\u003cp>“We wanted to be more radically inclusive,” said Gay Men’s Chorus staffer and former singer with the group, Peter Zimmerman. (Zimmerman even dyed his hair lavender in honor of the tour’s title.)\u003c/p>\n\u003cfigure id=\"attachment_13810854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg\" alt='SF Gay Mens Chorus staffer Peter Zimmerman died his hair lavender in honor of the \"Lavender Pen Tour.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Gay Mens Chorus staffer Peter Zimmerman dyed his hair lavender in honor of the “Lavender Pen Tour.” \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimmerman said his organization expects around 800 people to attend Sunday evening’s concert at Jackson’s \u003ca href=\"http://www.jacksonms.gov/index.aspx?nid=534\" target=\"_blank\" rel=\"noopener\">Thalia Mara Hall\u003c/a>. All proceeds from ticket sales and donations will benefit non-profit, LGBTQ support organizations. These include \u003ca href=\"https://www.hrc.org/campaigns/project-one-america\" target=\"_blank\" rel=\"noopener\">Project One America\u003c/a>, the transgender education and advocacy program of the \u003ca href=\"https://www.aclu.org/\" target=\"_blank\" rel=\"noopener\">American Civil Liberties Union\u003c/a> (ACLU) and the \u003ca href=\"http://www.ascms.net/\" target=\"_blank\" rel=\"noopener\">AIDS Services Coalition\u003c/a> based in Hattiesburg.\u003c/p>\n\u003cp>The Gay Men’s Chorus has also offered some partner organizations free tickets. These include \u003ca href=\"http://mbkinc.org/\" target=\"_blank\" rel=\"noopener\">My Brother’s Keeper\u003c/a>, which provides health services to minority and marginalized communities in the region, and is bringing around 150 of its patients to the concert.\u003c/p>\n\u003cp>“Many of the patients that we serve have never been to a concert or even set foot in Thalia Mara Hall,” said Deja Abdul-Haqq, director of organizational development at My Brother’s Keeper. “So it’s a really exciting opportunity for us.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bay Area Choirs in Jackson, MS\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7HOf-j3YxzU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Alabama, Tennessee, Mississippi, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Political gesture kicks off the SF Gay Men's Chorus and Oakland Interfaith Gospel Choir's tour of five southern states.",
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"title": "Bay Area Choruses Sing Out in Mississippi Against Anti-Gay Bill | KQED",
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"headline": "Bay Area Choruses Sing Out in Mississippi Against Anti-Gay Bill",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around 200 members of the \u003ca href=\"http://www.sfgmc.org/tour-schedule\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a>, together with some 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, gathered on the steps of the State Capitol Building in Jackson, MS to sing a message of love and unity on Sunday.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The gesture kicked off a concert and outreach tour of five southern states — Mississippi, Alabama, Tennessee, South Carolina and North Carolina — and was intended as a powerful message to state legislators just days before a controversial law, \u003ca href=\"http://billstatus.ls.state.ms.us/documents/2016/html/HB/1500-1599/HB1523SG.htm\" target=\"_blank\" rel=\"noopener\">House Bill 1523\u003c/a>, takes effect across the state.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Also known as “The \u003c/span>Religious Liberty Accommodations Act\u003cspan style=\"font-weight: 400\">,” HB 1523\u003c/span>\u003cspan style=\"font-weight: 400\"> gives businesses the right to refuse service to LGBTQ people due to religious views or preferences.\u003c/span>\u003c/p>\n\u003cp>“As of this week it will be legal for any business owner in Mississippi to tell your pastor he can’t have lunch in their establishment, to tell me I can’t sleep in their inn, to tell me I can’t buy from their shelves,” said Robert Lowry, pastor of \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.fondrenpcusa.org/\" target=\"_blank\" rel=\"noopener\">Fondren Presbyterian Church\u003c/a> in Jackson. Lowry spoke with passion about the bill during his Sunday morning sermon, at which select Gay Men’s Chorus members sang. Lowry is gay. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg\" alt=\"Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/robert-lowry-e1507497119859-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pastor Robert Lowry of Fondren Presbyterian Church in Jackson, MS. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lowry said this week is a turning point for Mississippi because of the passing of the highly-contested bill, and that the Bay Area singers’ visit sends a powerful message.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The religious liberty law is really a law for discrimination,” Lowry said in an interview before the service. “It’s important the choir is visiting right now, coming and celebrating and sharing their gifts and bringing this message of wholeness and peace and community into our community.”\u003c/p>\n\u003cfigure id=\"attachment_13810853\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810853\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg\" alt=\"A pair of SF Gay Mens Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands.\" width=\"800\" height=\"696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1020x887.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1920x1670.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-1180x1026.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-960x835.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-240x209.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-375x326.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/heading-into-fondren-church-e1507497384156-520x452.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pair of SF Gay Men’s Chorus members arrive at Fondrian Presbyterian Church to participate in the morning service, holding hands. \u003ccite>(Photo: Chloe Veltma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spreading a sense of hope and solidarity to some of the most vulnerable parts of the country’s LGBTQ community is one of the main goals of the Gay Men’s Chorus’s “Lavender Pen” tour. \u003cspan style=\"font-weight: 400\">The chorus canceled its 40th anniversary international tour plans a few days after last November’s presidential elections in order to undertake what the organization felt was a more pressing outreach mission at home. \u003c/span>\u003c/p>\n\u003cp>“We wanted to be more radically inclusive,” said Gay Men’s Chorus staffer and former singer with the group, Peter Zimmerman. (Zimmerman even dyed his hair lavender in honor of the tour’s title.)\u003c/p>\n\u003cfigure id=\"attachment_13810854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810854\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg\" alt='SF Gay Mens Chorus staffer Peter Zimmerman died his hair lavender in honor of the \"Lavender Pen Tour.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/peter-zimmerman-e1507497507393-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Gay Mens Chorus staffer Peter Zimmerman dyed his hair lavender in honor of the “Lavender Pen Tour.” \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zimmerman said his organization expects around 800 people to attend Sunday evening’s concert at Jackson’s \u003ca href=\"http://www.jacksonms.gov/index.aspx?nid=534\" target=\"_blank\" rel=\"noopener\">Thalia Mara Hall\u003c/a>. All proceeds from ticket sales and donations will benefit non-profit, LGBTQ support organizations. These include \u003ca href=\"https://www.hrc.org/campaigns/project-one-america\" target=\"_blank\" rel=\"noopener\">Project One America\u003c/a>, the transgender education and advocacy program of the \u003ca href=\"https://www.aclu.org/\" target=\"_blank\" rel=\"noopener\">American Civil Liberties Union\u003c/a> (ACLU) and the \u003ca href=\"http://www.ascms.net/\" target=\"_blank\" rel=\"noopener\">AIDS Services Coalition\u003c/a> based in Hattiesburg.\u003c/p>\n\u003cp>The Gay Men’s Chorus has also offered some partner organizations free tickets. These include \u003ca href=\"http://mbkinc.org/\" target=\"_blank\" rel=\"noopener\">My Brother’s Keeper\u003c/a>, which provides health services to minority and marginalized communities in the region, and is bringing around 150 of its patients to the concert.\u003c/p>\n\u003cp>“Many of the patients that we serve have never been to a concert or even set foot in Thalia Mara Hall,” said Deja Abdul-Haqq, director of organizational development at My Brother’s Keeper. “So it’s a really exciting opportunity for us.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bay Area Choirs in Jackson, MS\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7HOf-j3YxzU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Alabama, Tennessee, Mississippi, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Gay Men's Chorus Inspires Political Action Ahead of Tour",
"headTitle": "SF Gay Men’s Chorus Inspires Political Action Ahead of Tour | KQED",
"content": "\u003cp>Thomas Kennard is among the handful of transgender singers in the \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/?gclid=Cj0KEQjwjdLOBRCkoYX9vtaFv-UBEiQAWPn4YEPNqWUskUGPO9mrb9Gjv9OgknXP1TKPCzo8KSDRQNYaAtON8P8HAQ\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> — and proud to be one of its lowest basses.\u003c/p>\n\u003cp>“People say, ‘I thought you would be a tenor,'” Kennard says, demonstrating the guttural depths of his range.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/10/20171006tcrveltmanchorustourversion2.mp3\" /]\u003c/p>\n\u003cp>Kennard is concerned about the anti-transgender ideologies of some regions the choir is visiting on its upcoming tour of the southern United States. Last year, the chorus decided to forego its scheduled 40th anniversary international tour to visit the South not long after the 2016 presidential elections.\u003c/p>\n\u003cp>Kennard is especially worried about states that have tried to implement \u003ca href=\"http://www.ncsl.org/research/education/-bathroom-bill-legislative-tracking635951130.aspx\" target=\"_blank\" rel=\"noopener\">restrictive policies\u003c/a> around whether a trans person can use the bathroom of his or her choice, like North Carolina. (One trans chorus member, Kasey Dunton, decided not to join the tour because he’s worried about being arrested for using the men’s bathroom.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kennard is hoping to use the tour as an opportunity to spark conversations. “I am going to bring a T-shirt that says, ‘You Can Pee Next To Me,'” Kennard says. “So hopefully that will make a statement. People will ask me about it.”\u003c/p>\n\u003cfigure id=\"attachment_13810545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg\" alt=\"Thomas Kannard, a transgender member of the San Francisco Gay Men's Chorus.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Kennard, a transgender member of the San Francisco Gay Men’s Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 200 members of the San Francisco Gay Men’s Chorus, 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, and around 50 additional supporters are set to board their buses and head out on the road this weekend. But the tour is already sparking political conversations in the South.\u003c/p>\n\u003cp>In Tennessee, one such conversation began in earnest a few months ago when the Gay Men’s Chorus approached \u003ca href=\"http://www.churchstreetumc.org/\" target=\"_blank\" rel=\"noopener\">Church Street United Methodist Church in Knoxville\u003c/a> about performing there. Knoxville’s own gay men’s choir rehearses in the building. The church has openly gay members of the congregation. And senior pastor Chuck Starks talks up his organization’s sense of inclusivity. “We speak of ourselves as having open doors, hearts and minds,” Starks says.\u003c/p>\n\u003cp>But the church turned the San Francisco Gay Men’s Chorus down.\u003c/p>\n\u003cfigure id=\"attachment_13810616\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810616\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg\" alt=\"Church Street united Methodist Church in Knoxville\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1180x1782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1.jpg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Church Street united Methodist Church in Knoxville \u003ccite>(Photo: Caroline Lamar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starks blames a scheduling conflict. “\u003cspan style=\"font-weight: 400\">As a variety of things were looked at on the calendar, this just was not the right time for the hosting of the event,” Starks says.\u003c/span>\u003c/p>\n\u003cp>But lay leader Patricia Bellingrath, one of the representatives of the church who met with delegates from the San Francisco Gay Men’s Chorus, has a different take.\u003c/p>\n\u003cp>“I think it boils down to fear of the unknown,” Bellingrath says. “\u003cspan style=\"font-weight: 400\">There are many many of us who would have been glad to welcome this chorus. B\u003c/span>\u003cspan style=\"font-weight: 400\">ut we also on the other side have several who would have been furious.”\u003c/span>\u003c/p>\n\u003cp>Bellingrath says that the United Methodist Church is currently in turmoil over how inclusive it can really be when it comes to matters of sexuality.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There are people that want to change our book of discipline which says homosexuality is incompatible with the teachings of Christ,” Bellingrath says. “And there are many who say it’s just written in stone and there’s no way that we will ever change it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810617 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg\" alt=\"Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She's part of a group trying to make her church more inclusive.\" width=\"800\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She’s part of a group trying to make her church more inclusive. \u003ccite>(Photo: Aletha Garner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bellingrath is part of a group — “The Church Street Reconcilers” — that started trying to have open conversations about the topic around a year ago. Discussions were sporadic and slow. That is, until the San Francisco Gay Men’s Chorus came along.\u003c/p>\n\u003cp>It was the disagreement surrounding the decision not to allow the ensemble to perform at the church that spurred Bellingrath and her group into action. They created a \u003ca href=\"https://www.facebook.com/groups/271371673352550/\" target=\"_blank\" rel=\"noopener\">Facebook group\u003c/a>, which currently has around 120 members, to discuss issues of diversity in the congregation. And there’s a potluck planned for mid-October with the aim of making the church more inclusive.\u003c/p>\n\u003cfigure id=\"attachment_13810549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png\" alt=\"Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1020x734.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1180x849.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-960x691.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-240x173.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-375x270.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-520x374.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers.png 1482w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality. \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When this happened with the Gay Men’s Chorus, it really did prompt us to move quicker to go ahead and do something,” Bellingrath says.\u003c/p>\n\u003cp>Bellingrath views the church’s decision to pass on the San Francisco Gay Men’s Chorus as a missed opportunity.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think it would have been a wonderful opportunity to hear some beautiful, beautiful music, and a chance to visit with some folks in the chorus,” she says. “I think relationships are what changes people’s minds and hearts. And I think it could have been an excellent opportunity for people at Church Street.”\u003c/span>\u003c/p>\n\u003cp>Change may be slow to come. But for now, around 40 members of her congregation will be attending at the choir’s Oct. 11 concert — at Knoxville Civic Auditorium, not at their church like they would have hoped.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Mississipi, Alabama, Tennessee, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Debates around religion and sexuality emerge as the granddaddy of LGBTQ vocal ensembles prepares to visit Alabama, MIssissippi, North and South Carolina, Tennessee and Georgia. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thomas Kennard is among the handful of transgender singers in the \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/?gclid=Cj0KEQjwjdLOBRCkoYX9vtaFv-UBEiQAWPn4YEPNqWUskUGPO9mrb9Gjv9OgknXP1TKPCzo8KSDRQNYaAtON8P8HAQ\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> — and proud to be one of its lowest basses.\u003c/p>\n\u003cp>“People say, ‘I thought you would be a tenor,'” Kennard says, demonstrating the guttural depths of his range.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kennard is concerned about the anti-transgender ideologies of some regions the choir is visiting on its upcoming tour of the southern United States. Last year, the chorus decided to forego its scheduled 40th anniversary international tour to visit the South not long after the 2016 presidential elections.\u003c/p>\n\u003cp>Kennard is especially worried about states that have tried to implement \u003ca href=\"http://www.ncsl.org/research/education/-bathroom-bill-legislative-tracking635951130.aspx\" target=\"_blank\" rel=\"noopener\">restrictive policies\u003c/a> around whether a trans person can use the bathroom of his or her choice, like North Carolina. (One trans chorus member, Kasey Dunton, decided not to join the tour because he’s worried about being arrested for using the men’s bathroom.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kennard is hoping to use the tour as an opportunity to spark conversations. “I am going to bring a T-shirt that says, ‘You Can Pee Next To Me,'” Kennard says. “So hopefully that will make a statement. People will ask me about it.”\u003c/p>\n\u003cfigure id=\"attachment_13810545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg\" alt=\"Thomas Kannard, a transgender member of the San Francisco Gay Men's Chorus.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Thomas-Kannard-e1507157009182-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thomas Kennard, a transgender member of the San Francisco Gay Men’s Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around 200 members of the San Francisco Gay Men’s Chorus, 50 singers from the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a>, and around 50 additional supporters are set to board their buses and head out on the road this weekend. But the tour is already sparking political conversations in the South.\u003c/p>\n\u003cp>In Tennessee, one such conversation began in earnest a few months ago when the Gay Men’s Chorus approached \u003ca href=\"http://www.churchstreetumc.org/\" target=\"_blank\" rel=\"noopener\">Church Street United Methodist Church in Knoxville\u003c/a> about performing there. Knoxville’s own gay men’s choir rehearses in the building. The church has openly gay members of the congregation. And senior pastor Chuck Starks talks up his organization’s sense of inclusivity. “We speak of ourselves as having open doors, hearts and minds,” Starks says.\u003c/p>\n\u003cp>But the church turned the San Francisco Gay Men’s Chorus down.\u003c/p>\n\u003cfigure id=\"attachment_13810616\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810616\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg\" alt=\"Church Street united Methodist Church in Knoxville\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1020x1541.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-1180x1782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_3871-1.jpg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Church Street united Methodist Church in Knoxville \u003ccite>(Photo: Caroline Lamar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Starks blames a scheduling conflict. “\u003cspan style=\"font-weight: 400\">As a variety of things were looked at on the calendar, this just was not the right time for the hosting of the event,” Starks says.\u003c/span>\u003c/p>\n\u003cp>But lay leader Patricia Bellingrath, one of the representatives of the church who met with delegates from the San Francisco Gay Men’s Chorus, has a different take.\u003c/p>\n\u003cp>“I think it boils down to fear of the unknown,” Bellingrath says. “\u003cspan style=\"font-weight: 400\">There are many many of us who would have been glad to welcome this chorus. B\u003c/span>\u003cspan style=\"font-weight: 400\">ut we also on the other side have several who would have been furious.”\u003c/span>\u003c/p>\n\u003cp>Bellingrath says that the United Methodist Church is currently in turmoil over how inclusive it can really be when it comes to matters of sexuality.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There are people that want to change our book of discipline which says homosexuality is incompatible with the teachings of Christ,” Bellingrath says. “And there are many who say it’s just written in stone and there’s no way that we will ever change it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13810617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810617 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg\" alt=\"Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She's part of a group trying to make her church more inclusive.\" width=\"800\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-800x667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-1020x850.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-960x800.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-240x200.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-375x313.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg-520x433.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/FullSizeRender.jpg.jpg 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Bellingrath is a lay leader at the United Methodist Church in Knoxville. She’s part of a group trying to make her church more inclusive. \u003ccite>(Photo: Aletha Garner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bellingrath is part of a group — “The Church Street Reconcilers” — that started trying to have open conversations about the topic around a year ago. Discussions were sporadic and slow. That is, until the San Francisco Gay Men’s Chorus came along.\u003c/p>\n\u003cp>It was the disagreement surrounding the decision not to allow the ensemble to perform at the church that spurred Bellingrath and her group into action. They created a \u003ca href=\"https://www.facebook.com/groups/271371673352550/\" target=\"_blank\" rel=\"noopener\">Facebook group\u003c/a>, which currently has around 120 members, to discuss issues of diversity in the congregation. And there’s a potluck planned for mid-October with the aim of making the church more inclusive.\u003c/p>\n\u003cfigure id=\"attachment_13810549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png\" alt=\"Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-800x575.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-160x115.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-768x552.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1020x734.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-1180x849.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-960x691.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-240x173.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-375x270.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers-520x374.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/facebook-church-street-reconcilers.png 1482w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the Church Street Reconcilers Facebook page. The group was started to engage church members in discussions around sexuality. \u003ccite>(Photo: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When this happened with the Gay Men’s Chorus, it really did prompt us to move quicker to go ahead and do something,” Bellingrath says.\u003c/p>\n\u003cp>Bellingrath views the church’s decision to pass on the San Francisco Gay Men’s Chorus as a missed opportunity.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I think it would have been a wonderful opportunity to hear some beautiful, beautiful music, and a chance to visit with some folks in the chorus,” she says. “I think relationships are what changes people’s minds and hearts. And I think it could have been an excellent opportunity for people at Church Street.”\u003c/span>\u003c/p>\n\u003cp>Change may be slow to come. But for now, around 40 members of her congregation will be attending at the choir’s Oct. 11 concert — at Knoxville Civic Auditorium, not at their church like they would have hoped.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>The San Francisco Gay Men’s Chorus “Lavender Pen Tour” visits various locations in Mississipi, Alabama, Tennessee, North Carolina and South Carolina Oct. 8 – 14. More information \u003ca href=\"http://www.sfgmc.org/lavender-pen-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From Tony! Toni! Toné! to 'Insecure,' R&B Star Raphael Saadiq is Timeless",
"headTitle": "From Tony! Toni! Toné! to ‘Insecure,’ R&B Star Raphael Saadiq is Timeless | KQED",
"content": "\u003cp>If Raphael Saadiq could have his way, he would have been born in the same era as early R&B greats like Ray Charles and Etta James. “I don’t mean to sound funny, but I’m timeless,” says the Oakland native in a phone interview. “I came out in ’88 but I would have preferred to come out in the ’50s.”\u003c/p>\n\u003cp>It’s an interesting, but not surprising, revelation from an artist whose impact on R&B transcends the early ’90s, when he became known for hits like “Anniversary” and “It Never Rains (In Southern California)” with his multi-platinum selling group, Tony! Toni! Toné! Saadiq is responsible for some of the biggest songs of the past two decades, and the roster of artists he’s worked with as a producer reads like a “best performers of all times” list: Stevie Wonder, D’Angelo, Solange, John Legend, Whitney Houston, and the Isley Brothers, just to name a few.\u003c/p>\n\u003cp>https://youtu.be/3yNibj8LW-Q\u003c/p>\n\u003cp>“I’m really surprised about my whole career a little bit,” says Saadiq, reflecting on his influence in the music industry. “I just went to get some coffee and this guy was like ‘Yo man, you’re a genius!’ The ‘genius’ word is so crazy to me because I know so many people who I think are geniuses!” \u003c/p>\n\u003cp>Today, you’ll hear Tony! Toni! Toné! songs sampled in two of this year’s biggest rap hits, “\u003ca href=\"https://www.youtube.com/watch?v=oI94HFA_HFk\" rel=\"noopener\" target=\"_blank\">Whatever You Need\u003c/a>” by Meek Mill featuring Chris Brown and Ty Dolla $ign and “\u003ca href=\"https://www.youtube.com/watch?v=Akfeu1zfpLI\" rel=\"noopener\" target=\"_blank\">OTW\u003c/a>” by DJ Luke Nasty. And Saadiq recently made headlines with his soundtrack work on the popular HBO show \u003cem>Insecure\u003c/em>, where he serves as a music composer. The series is known for its \u003ca href=\"https://open.spotify.com/album/1hfSMy89JzdUmHjxDFXlZ1\" rel=\"noopener\" target=\"_blank\">popular Spotify playlist\u003c/a>, a mix of curated tracks that highlights Saadiq’s ability to write and select music based on the essence of a character. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Main character Issa Dee “has three different personalities, and you have to change the vibe of the music, so like, one part of her is ’90s hip-hop, another is a little jazzier, and one is a little more soulful,” he says. “You have to play music that will speak to their minds and everyone’s mind who is actually watching it on TV.”\u003c/p>\n\u003cp>https://youtu.be/NyxhiqIDdps\u003c/p>\n\u003cp>Following a stretch of behind-the-scenes work, Saadiq is headed back in the spotlight. He has a sixth studio album in the works and is slated to perform on Oct. 8 as the opening act for Maxwell at the \u003ca href=\"https://www.livenation.com/events/694846-oct-8-2017-maxwell-night-tour\" rel=\"noopener\" target=\"_blank\">Concord Pavilion\u003c/a> — a homecoming show for the musician, who now lives in Los Angeles. \u003c/p>\n\u003cp>“I love the Bay,” he says. “I can’t wait to get back home.”\u003c/p>\n\u003cp>Saadiq says his music is a peek into his own humble beginnings as a boy growing up in Oakland, where local gospel groups shaped him in addition to mainstream influences like Earth, Wind & Fire. “There were so many beautiful singers and musicians like the Hawkins family, the Gospel Hummingbirds, Superior Angels — local groups that don’t get the notoriety but are really responsible for my career.” \u003c/p>\n\u003cp>The youngest of 14 children, Saadiq discovered his musical ability early and began playing bass guitar at just six years old. His dad, however, was more of a talk radio kind of guy. “You’d get in my dad’s car and all you’d hear was ‘dah, dah, dah,’” laughs Saadiq. “Every once in a while there would be music, but not much.” \u003c/p>\n\u003cfigure id=\"attachment_13810637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-800x533.jpg\" alt=\"Raphael Saadiq.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq. \u003ccite>(Evita M. Castine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Saadiq says his musical talent was something everyone around him could see. His friends, teachers, and classmates — even the guys in the neighborhood — always encouraged him to continue on his musical path. “Those guys saw something in me, they would always let me know that I should keep going.”\u003c/p>\n\u003cp>As Saadiq got older, music became an escape. “One of my brothers killed himself. He couldn’t stop doing drugs and he was embarrassed about it,” Saadiq recalls. When he was 11, another brother overdosed on heroin in the garage. Saadiq still remembers riding in a limousine to the funeral. “It’s why, to this day, I don’t like limos.” \u003c/p>\n\u003cp>Then, in 1990, while Saadiq was writing “It Never Rains (In Southern California),” his sister, an Oakland parole officer, was killed when a man fleeing police in a high-speed chase crashed into her car as she backed out of her driveway. \u003c/p>\n\u003cfigure id=\"attachment_13810636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-800x533.jpg\" alt=\"Raphael Saadiq.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq. \u003ccite>(Evita M. Castine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the tragedy he’s endured, Saadiq looks to his religious roots as a source of strength. “There is a saying in church, ‘This joy that I have, the world didn’t give it to me and the world can’t take it away,’” he reflects. “I just never let the world take away the joy I had as a kid and I just put that into my music.”\u003c/p>\n\u003cp>By 18 years old, Saadiq had already made major strides in his career: He was traveling the world as a bassist for another Oakland R&B icon,\u003ca href=\"https://www.sheilae.com/\" rel=\"noopener\" target=\"_blank\"> Sheila E.\u003c/a>, as part of Prince’s \u003cem>Parade\u003c/em> Tour. Singing came later, after he returned from touring and formed Tony! Toni! Toné! with his brother Dwayne Wiggins and cousin Timothy Christian Riley. Saadiq says he never really wanted to be the lead singer, but when the group went out in search of a record deal, their producers, \u003ca href=\"https://en.wikipedia.org/wiki/Foster_%26_McElroy\" rel=\"noopener\" target=\"_blank\">Tommy McElroy and Denzil Foster\u003c/a>, decided Saadiq should be front and center. \u003c/p>\n\u003cp>“I felt like I was naked without my bass, like the guy in Charlie Brown that had the blanket,” Saadiq says. “So all of those things I learned from those Bay Area gospel groups and quartet groups were all the techniques I used to stand in front of a mic without my bass. It was really annoying in the beginning!” \u003c/p>\n\u003cp>Still, Saadiq never let his love of bass guitar fade away. You hear it on the Toni! Tony! Toné! albums and on Saadiq’s 2009 solo album, \u003cem>The Way I See It\u003c/em>, where he played most of the other instruments including the drums, piano, guitar, and sitar. “I’ve always had a respect for other genres. Rock, blues, country, reggae — even Middle Eastern music.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZeKaHBMKows\u003c/p>\n\u003cp>So how does Saadiq know when he has a hit? The answer, he says, is complicated. “When I wrote ‘Anniversary,’ I just kept humming to myself over and over the line, ‘It’s our anniversary, it’s our anniversary’ and I thought, ‘Oh this sounds good, it just rolled off my tongue.’ I had no idea it was going to turn into like, a ‘Happy Birthday’ song for everybody,” says Saadiq. “But the line I liked the most was when I said ‘Victoria will be no secret.’ I just thought I was the best! My ego kinda came out a little bit, I was like ‘I am killin’ it right now!’”\u003c/p>\n\u003cp>For a man who feels like he should have been born in a different era, Saadiq has solidified himself as a major influence to contemporary R&B while also serving as a futurist of sorts, setting the mark for what’s considered hot.\u003c/p>\n\u003cp>With a laugh Saadiq says, “It’s almost like I shapeshift, I can turn into different things when I want to.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Raphael Saadiq performs with Maxwell and Jazmine Sullivan at Concord Pavilion on Oct. 8. More info \u003ca href=\"https://www.livenation.com/events/694846-oct-8-2017-maxwell-night-tour\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The Oakland-bred artist and producer has remained a force in contemporary R&B since he first topped the charts in the early '90s.",
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"description": "The Oakland-bred artist and producer has remained a force in contemporary R&B since he first topped the charts in the early '90s.",
"title": "From Tony! Toni! Toné! to 'Insecure,' R&B Star Raphael Saadiq is Timeless | KQED",
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"headline": "From Tony! Toni! Toné! to 'Insecure,' R&B Star Raphael Saadiq is Timeless",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Raphael Saadiq could have his way, he would have been born in the same era as early R&B greats like Ray Charles and Etta James. “I don’t mean to sound funny, but I’m timeless,” says the Oakland native in a phone interview. “I came out in ’88 but I would have preferred to come out in the ’50s.”\u003c/p>\n\u003cp>It’s an interesting, but not surprising, revelation from an artist whose impact on R&B transcends the early ’90s, when he became known for hits like “Anniversary” and “It Never Rains (In Southern California)” with his multi-platinum selling group, Tony! Toni! Toné! Saadiq is responsible for some of the biggest songs of the past two decades, and the roster of artists he’s worked with as a producer reads like a “best performers of all times” list: Stevie Wonder, D’Angelo, Solange, John Legend, Whitney Houston, and the Isley Brothers, just to name a few.\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/3yNibj8LW-Q'\n title='//www.youtube.com/embed/3yNibj8LW-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m really surprised about my whole career a little bit,” says Saadiq, reflecting on his influence in the music industry. “I just went to get some coffee and this guy was like ‘Yo man, you’re a genius!’ The ‘genius’ word is so crazy to me because I know so many people who I think are geniuses!” \u003c/p>\n\u003cp>Today, you’ll hear Tony! Toni! Toné! songs sampled in two of this year’s biggest rap hits, “\u003ca href=\"https://www.youtube.com/watch?v=oI94HFA_HFk\" rel=\"noopener\" target=\"_blank\">Whatever You Need\u003c/a>” by Meek Mill featuring Chris Brown and Ty Dolla $ign and “\u003ca href=\"https://www.youtube.com/watch?v=Akfeu1zfpLI\" rel=\"noopener\" target=\"_blank\">OTW\u003c/a>” by DJ Luke Nasty. And Saadiq recently made headlines with his soundtrack work on the popular HBO show \u003cem>Insecure\u003c/em>, where he serves as a music composer. The series is known for its \u003ca href=\"https://open.spotify.com/album/1hfSMy89JzdUmHjxDFXlZ1\" rel=\"noopener\" target=\"_blank\">popular Spotify playlist\u003c/a>, a mix of curated tracks that highlights Saadiq’s ability to write and select music based on the essence of a character. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Main character Issa Dee “has three different personalities, and you have to change the vibe of the music, so like, one part of her is ’90s hip-hop, another is a little jazzier, and one is a little more soulful,” he says. “You have to play music that will speak to their minds and everyone’s mind who is actually watching it on TV.”\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/NyxhiqIDdps'\n title='//www.youtube.com/embed/NyxhiqIDdps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Following a stretch of behind-the-scenes work, Saadiq is headed back in the spotlight. He has a sixth studio album in the works and is slated to perform on Oct. 8 as the opening act for Maxwell at the \u003ca href=\"https://www.livenation.com/events/694846-oct-8-2017-maxwell-night-tour\" rel=\"noopener\" target=\"_blank\">Concord Pavilion\u003c/a> — a homecoming show for the musician, who now lives in Los Angeles. \u003c/p>\n\u003cp>“I love the Bay,” he says. “I can’t wait to get back home.”\u003c/p>\n\u003cp>Saadiq says his music is a peek into his own humble beginnings as a boy growing up in Oakland, where local gospel groups shaped him in addition to mainstream influences like Earth, Wind & Fire. “There were so many beautiful singers and musicians like the Hawkins family, the Gospel Hummingbirds, Superior Angels — local groups that don’t get the notoriety but are really responsible for my career.” \u003c/p>\n\u003cp>The youngest of 14 children, Saadiq discovered his musical ability early and began playing bass guitar at just six years old. His dad, however, was more of a talk radio kind of guy. “You’d get in my dad’s car and all you’d hear was ‘dah, dah, dah,’” laughs Saadiq. “Every once in a while there would be music, but not much.” \u003c/p>\n\u003cfigure id=\"attachment_13810637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-800x533.jpg\" alt=\"Raphael Saadiq.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-1-by-Evita-M.-Castine-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq. \u003ccite>(Evita M. Castine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Saadiq says his musical talent was something everyone around him could see. His friends, teachers, and classmates — even the guys in the neighborhood — always encouraged him to continue on his musical path. “Those guys saw something in me, they would always let me know that I should keep going.”\u003c/p>\n\u003cp>As Saadiq got older, music became an escape. “One of my brothers killed himself. He couldn’t stop doing drugs and he was embarrassed about it,” Saadiq recalls. When he was 11, another brother overdosed on heroin in the garage. Saadiq still remembers riding in a limousine to the funeral. “It’s why, to this day, I don’t like limos.” \u003c/p>\n\u003cp>Then, in 1990, while Saadiq was writing “It Never Rains (In Southern California),” his sister, an Oakland parole officer, was killed when a man fleeing police in a high-speed chase crashed into her car as she backed out of her driveway. \u003c/p>\n\u003cfigure id=\"attachment_13810636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-800x533.jpg\" alt=\"Raphael Saadiq.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Raphael-Saadiq-2-by-Evita-M.-Castine.jpg-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq. \u003ccite>(Evita M. Castine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the tragedy he’s endured, Saadiq looks to his religious roots as a source of strength. “There is a saying in church, ‘This joy that I have, the world didn’t give it to me and the world can’t take it away,’” he reflects. “I just never let the world take away the joy I had as a kid and I just put that into my music.”\u003c/p>\n\u003cp>By 18 years old, Saadiq had already made major strides in his career: He was traveling the world as a bassist for another Oakland R&B icon,\u003ca href=\"https://www.sheilae.com/\" rel=\"noopener\" target=\"_blank\"> Sheila E.\u003c/a>, as part of Prince’s \u003cem>Parade\u003c/em> Tour. Singing came later, after he returned from touring and formed Tony! Toni! Toné! with his brother Dwayne Wiggins and cousin Timothy Christian Riley. Saadiq says he never really wanted to be the lead singer, but when the group went out in search of a record deal, their producers, \u003ca href=\"https://en.wikipedia.org/wiki/Foster_%26_McElroy\" rel=\"noopener\" target=\"_blank\">Tommy McElroy and Denzil Foster\u003c/a>, decided Saadiq should be front and center. \u003c/p>\n\u003cp>“I felt like I was naked without my bass, like the guy in Charlie Brown that had the blanket,” Saadiq says. “So all of those things I learned from those Bay Area gospel groups and quartet groups were all the techniques I used to stand in front of a mic without my bass. It was really annoying in the beginning!” \u003c/p>\n\u003cp>Still, Saadiq never let his love of bass guitar fade away. You hear it on the Toni! Tony! Toné! albums and on Saadiq’s 2009 solo album, \u003cem>The Way I See It\u003c/em>, where he played most of the other instruments including the drums, piano, guitar, and sitar. “I’ve always had a respect for other genres. Rock, blues, country, reggae — even Middle Eastern music.”\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/ZeKaHBMKows'\n title='//www.youtube.com/embed/ZeKaHBMKows'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So how does Saadiq know when he has a hit? The answer, he says, is complicated. “When I wrote ‘Anniversary,’ I just kept humming to myself over and over the line, ‘It’s our anniversary, it’s our anniversary’ and I thought, ‘Oh this sounds good, it just rolled off my tongue.’ I had no idea it was going to turn into like, a ‘Happy Birthday’ song for everybody,” says Saadiq. “But the line I liked the most was when I said ‘Victoria will be no secret.’ I just thought I was the best! My ego kinda came out a little bit, I was like ‘I am killin’ it right now!’”\u003c/p>\n\u003cp>For a man who feels like he should have been born in a different era, Saadiq has solidified himself as a major influence to contemporary R&B while also serving as a futurist of sorts, setting the mark for what’s considered hot.\u003c/p>\n\u003cp>With a laugh Saadiq says, “It’s almost like I shapeshift, I can turn into different things when I want to.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Raphael Saadiq performs with Maxwell and Jazmine Sullivan at Concord Pavilion on Oct. 8. More info \u003ca href=\"https://www.livenation.com/events/694846-oct-8-2017-maxwell-night-tour\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Panamanian pianist Danilo Perez paid tribute to Thelonious Monk 20 years ago with his album \u003cem>Panamonk\u003c/em>, which put a latin spin on Monk’s brilliant compositions (“Round Midnight,” “Straight no Chaser,” and many others). Monk famously said “wrong is right,” and proved it with off-tempo rhythms and dissonant notes in memorable songs that invited improvisation. Perez is in the Bay Area this week with his trio, featuring bassist Ben Street and drummer Adam Cruz, and playing the songs from \u003cem>Panamonk\u003c/em>. His interpretations remain insightful and charming. He plays Cafe Stritch Oct. 8, Kuumbwa in Santa Cruz Oct. 12, and SFJAZZ Oct. 13. \u003ca href=\"http://www.daniloperez.com/tour-dates/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003cem>.\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/N-WKyA1f4Iw'\n title='//www.youtube.com/embed/N-WKyA1f4Iw'\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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"title": "'Thugs and the Women Who Love 'Em,' a Play That Feels Like Reality TV",
"headTitle": "‘Thugs and the Women Who Love ‘Em,’ a Play That Feels Like Reality TV | KQED",
"content": "\u003cp>If a Tuesday-night drama about women who can’t seem to pick loyal or law-abiding lovers sounds more like a reality TV plot than a new play, you’re not too far off the mark. \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> made its West Coast debut last night at Oakland’s \u003ca href=\"http://www.paramounttheatre.com/\" rel=\"noopener\" target=\"_blank\">Paramount Theatre\u003c/a> featuring a star-studded cast of musicians and reality TV stars, including Boosie Badazz, Ray J, K. Michelle, Amina Buddafly, and Lyfe Jennings. \u003c/p>\n\u003cp>The play’s plot and title is inspired by Wahida Clark’s 2005 \u003cem>New York Times\u003c/em> bestseller, \u003cem>Thugs and the Women Who Love Them\u003c/em>, a novel about three women who attempt to detangle themselves from manipulative and violent partners. Producer Melvin Childs explained that he chose to adapt Clark’s novel to the stage because he felt it would resonate with younger African-American audiences who don’t typically go to the theater.\u003c/p>\n\u003cfigure id=\"attachment_13810566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/WIG_1806-800x533.jpg\" alt=\"Amina Buddafly as Candace in 'Thugs and the Women Who Love 'Em.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amina Buddafly as Candace in ‘Thugs and the Women Who Love ‘Em.’ \u003ccite>(Jay Wiggins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My biggest thing is I’ve seen the products that have been put on for us and they haven’t evolved. As far as black folks are concerned, we got gospel plays,” he said over the phone. However, the production’s rollout has not been without controversy: In a lawsuit filed this summer, Clark alleged that Childs did not obtain the rights to use her work, \u003ca href=\"http://nypost.com/2017/08/21/best-selling-author-says-producer-ripped-off-book-for-play-suit/\" rel=\"noopener\" target=\"_blank\">a claim he has denied\u003c/a> in previous interviews. \u003c/p>\n\u003cp>Despite the pending lawsuit, the musical stage production is currently on a national tour smartly cast with familiar faces from music and reality entertainment. Ray J, K. Michelle, and Amina Buddafly are all central cast members in various editions of the successful reality TV franchise \u003ca href=\"http://www.vh1.com/shows/love-and-hip-hop\" rel=\"noopener\" target=\"_blank\">\u003cem>Love & Hip Hop\u003c/em>\u003c/a>. And though it’s not uncommon for theater productions to anchor their appeal in stars from other sectors of the entertainment world, \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> is sometimes more reminiscent of a reality TV drama than a cogent storyline extracted from Clark’s novel. Although its plot is somewhat lacking, the play’s most original element is its stars’ brief but masterful musical performances. \u003c/p>\n\u003cfigure id=\"attachment_13810541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/WIG_1437-800x1200.jpg\" alt=\"Kelly (K. Michelle) and DeJuan (Ray J).\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13810541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelly (K. Michelle) and DeJuan (Ray J). \u003ccite>(Jay Wiggins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Paramount, the multi-generational audience — who took the occasion of this play to dress up — danced and sang along to Cardi B’s “Bodak Yellow” and other summer mega-hits blasting through the theater. The curtains finally opened to Kelly (K. Michelle) singing wistfully over the phone to her incarcerated lover Kevin (Boosie Badazz). The first act introduced the audience to DeJuan (Ray J), who romantically pursues Kelly. Like most of the other women in \u003cem>Thugs and the Women Who Love ‘Em\u003c/em>, she dismisses his advances at first. But it doesn’t take long — or much — to persuade her to abandon her instincts. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when complex and authentic portrayals of black womanhood are flourishing in HBO’s \u003cem>Insecure\u003c/em> and box-office hits like \u003cem>Girls Trip\u003c/em>, Childs and the rest of the production could have taken the time to flesh out their central characters further. But instead, the women in \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> came off as one-dimensional and were often rushed off stage for the next scene. Jackie Michaels delivered the most compelling performance as Shawn, but the actress barely had enough time and space to fully delve into her character’s intentions and motivations. \u003c/p>\n\u003cp>The second act didn’t do much to advance the story, and the dialogue devolved into serving mostly as a break between the show’s standout musical moments. Mic problems also plagued key conversations which the cast commendably handled with ease and humor, and the audience was helpful and forgiving. \u003c/p>\n\u003cfigure id=\"attachment_13810542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/WIG_1240-800x533.jpg\" alt=\"Shawn (Jackie Michaels) confronts Devon (Jamal Woolard).\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shawn (Jackie Michaels) confronts Devon (Jamal Woolard). \u003ccite>(Jay Wiggins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The central cast members shone in their solo musical numbers, which were more or less seamlessly integrated into the play. After a tense conversation with DeJuan, Kevin switched to Boosie, momentarily breaking character, for an abbreviated performance of his 2006 hit “\u003ca href=\"https://www.youtube.com/watch?v=7UR3FCSFAN8\" rel=\"noopener\" target=\"_blank\">Set It Off\u003c/a>” — the audience screamed in jubilance. Though K. Michelle was given the most solo singing opportunities, Michaels’ cover of Melanie Fiona’s “\u003ca href=\"https://www.youtube.com/watch?v=Q8yZedKTXJ0\" rel=\"noopener\" target=\"_blank\">It Kills Me\u003c/a>” was the most captivating R&B performance of the night. The peak performance, however, came when Ray J sang a passionate, unwavering rendition of his 2005 hit, “\u003ca href=\"https://www.youtube.com/watch?v=9_aUaiCXtJE\" rel=\"noopener\" target=\"_blank\">One Wish\u003c/a>.”\u003c/p>\n\u003cp>Ray J’s involvement is an optimistic sign for Childs and his production. The actor and singer has created a blueprint for protracting an entertainment career; he’s effortlessly navigated sitcoms, R&B, and most recently, reality TV. His public persona is occasionally reprehensible (he famously pushed his wife into a swimming pool after a tense argument on an episode of \u003cem>Love & Hip-Hop: Hollywood\u003c/em>) but he delivers his reality TV performances with a knowing wink — assuring the audience his behavior is in service of their entertainment. That’s the value that drives the wildly successful franchises of reality TV, from which much of the cast of \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> is plucked. \u003c/p>\n\u003cp>But if Childs is hoping that theater will be the next stage where audiences can be mesmerized by exaggerated proxies for interpersonal relationships, his production will need to strengthen its narrative. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thugs and the Women Who Love ‘Em’ runs for a second night on Oct. 5 at the Paramount Theatre. More information \u003ca href=\"https://www1.ticketmaster.com/event/1C005318B5719375?brand=paramounttheatre\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "A new hip-hop musical starring Boosie Badazz and Ray J made its West Coast debut at Oakland's Paramount Theatre with mixed results. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If a Tuesday-night drama about women who can’t seem to pick loyal or law-abiding lovers sounds more like a reality TV plot than a new play, you’re not too far off the mark. \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> made its West Coast debut last night at Oakland’s \u003ca href=\"http://www.paramounttheatre.com/\" rel=\"noopener\" target=\"_blank\">Paramount Theatre\u003c/a> featuring a star-studded cast of musicians and reality TV stars, including Boosie Badazz, Ray J, K. Michelle, Amina Buddafly, and Lyfe Jennings. \u003c/p>\n\u003cp>The play’s plot and title is inspired by Wahida Clark’s 2005 \u003cem>New York Times\u003c/em> bestseller, \u003cem>Thugs and the Women Who Love Them\u003c/em>, a novel about three women who attempt to detangle themselves from manipulative and violent partners. Producer Melvin Childs explained that he chose to adapt Clark’s novel to the stage because he felt it would resonate with younger African-American audiences who don’t typically go to the theater.\u003c/p>\n\u003cfigure id=\"attachment_13810566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/WIG_1806-800x533.jpg\" alt=\"Amina Buddafly as Candace in 'Thugs and the Women Who Love 'Em.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1806-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amina Buddafly as Candace in ‘Thugs and the Women Who Love ‘Em.’ \u003ccite>(Jay Wiggins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My biggest thing is I’ve seen the products that have been put on for us and they haven’t evolved. As far as black folks are concerned, we got gospel plays,” he said over the phone. However, the production’s rollout has not been without controversy: In a lawsuit filed this summer, Clark alleged that Childs did not obtain the rights to use her work, \u003ca href=\"http://nypost.com/2017/08/21/best-selling-author-says-producer-ripped-off-book-for-play-suit/\" rel=\"noopener\" target=\"_blank\">a claim he has denied\u003c/a> in previous interviews. \u003c/p>\n\u003cp>Despite the pending lawsuit, the musical stage production is currently on a national tour smartly cast with familiar faces from music and reality entertainment. Ray J, K. Michelle, and Amina Buddafly are all central cast members in various editions of the successful reality TV franchise \u003ca href=\"http://www.vh1.com/shows/love-and-hip-hop\" rel=\"noopener\" target=\"_blank\">\u003cem>Love & Hip Hop\u003c/em>\u003c/a>. And though it’s not uncommon for theater productions to anchor their appeal in stars from other sectors of the entertainment world, \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> is sometimes more reminiscent of a reality TV drama than a cogent storyline extracted from Clark’s novel. Although its plot is somewhat lacking, the play’s most original element is its stars’ brief but masterful musical performances. \u003c/p>\n\u003cfigure id=\"attachment_13810541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/WIG_1437-800x1200.jpg\" alt=\"Kelly (K. Michelle) and DeJuan (Ray J).\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13810541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1437-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelly (K. Michelle) and DeJuan (Ray J). \u003ccite>(Jay Wiggins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Paramount, the multi-generational audience — who took the occasion of this play to dress up — danced and sang along to Cardi B’s “Bodak Yellow” and other summer mega-hits blasting through the theater. The curtains finally opened to Kelly (K. Michelle) singing wistfully over the phone to her incarcerated lover Kevin (Boosie Badazz). The first act introduced the audience to DeJuan (Ray J), who romantically pursues Kelly. Like most of the other women in \u003cem>Thugs and the Women Who Love ‘Em\u003c/em>, she dismisses his advances at first. But it doesn’t take long — or much — to persuade her to abandon her instincts. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when complex and authentic portrayals of black womanhood are flourishing in HBO’s \u003cem>Insecure\u003c/em> and box-office hits like \u003cem>Girls Trip\u003c/em>, Childs and the rest of the production could have taken the time to flesh out their central characters further. But instead, the women in \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> came off as one-dimensional and were often rushed off stage for the next scene. Jackie Michaels delivered the most compelling performance as Shawn, but the actress barely had enough time and space to fully delve into her character’s intentions and motivations. \u003c/p>\n\u003cp>The second act didn’t do much to advance the story, and the dialogue devolved into serving mostly as a break between the show’s standout musical moments. Mic problems also plagued key conversations which the cast commendably handled with ease and humor, and the audience was helpful and forgiving. \u003c/p>\n\u003cfigure id=\"attachment_13810542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/WIG_1240-800x533.jpg\" alt=\"Shawn (Jackie Michaels) confronts Devon (Jamal Woolard).\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13810542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/WIG_1240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shawn (Jackie Michaels) confronts Devon (Jamal Woolard). \u003ccite>(Jay Wiggins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The central cast members shone in their solo musical numbers, which were more or less seamlessly integrated into the play. After a tense conversation with DeJuan, Kevin switched to Boosie, momentarily breaking character, for an abbreviated performance of his 2006 hit “\u003ca href=\"https://www.youtube.com/watch?v=7UR3FCSFAN8\" rel=\"noopener\" target=\"_blank\">Set It Off\u003c/a>” — the audience screamed in jubilance. Though K. Michelle was given the most solo singing opportunities, Michaels’ cover of Melanie Fiona’s “\u003ca href=\"https://www.youtube.com/watch?v=Q8yZedKTXJ0\" rel=\"noopener\" target=\"_blank\">It Kills Me\u003c/a>” was the most captivating R&B performance of the night. The peak performance, however, came when Ray J sang a passionate, unwavering rendition of his 2005 hit, “\u003ca href=\"https://www.youtube.com/watch?v=9_aUaiCXtJE\" rel=\"noopener\" target=\"_blank\">One Wish\u003c/a>.”\u003c/p>\n\u003cp>Ray J’s involvement is an optimistic sign for Childs and his production. The actor and singer has created a blueprint for protracting an entertainment career; he’s effortlessly navigated sitcoms, R&B, and most recently, reality TV. His public persona is occasionally reprehensible (he famously pushed his wife into a swimming pool after a tense argument on an episode of \u003cem>Love & Hip-Hop: Hollywood\u003c/em>) but he delivers his reality TV performances with a knowing wink — assuring the audience his behavior is in service of their entertainment. That’s the value that drives the wildly successful franchises of reality TV, from which much of the cast of \u003cem>Thugs and the Women Who Love ‘Em\u003c/em> is plucked. \u003c/p>\n\u003cp>But if Childs is hoping that theater will be the next stage where audiences can be mesmerized by exaggerated proxies for interpersonal relationships, his production will need to strengthen its narrative. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thugs and the Women Who Love ‘Em’ runs for a second night on Oct. 5 at the Paramount Theatre. More information \u003ca href=\"https://www1.ticketmaster.com/event/1C005318B5719375?brand=paramounttheatre\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Flesh World's 'Into the Shroud' Sighs Out Our Collective Anxiety",
"headTitle": "Flesh World’s ‘Into the Shroud’ Sighs Out Our Collective Anxiety | KQED",
"content": "\u003cp>With the Las Vegas shooting and the aftermath of Hurricanes Harvey and Irma dominating our newsfeeds and inner monologues, it can be tempting to retreat from the world and hide under our blankets. \u003c/p>\n\u003cp>That’s the image the title of the new album from Bay Area post-punk band Flesh World, \u003ca href=\"https://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">\u003cem>Into the Shroud\u003c/em>\u003c/a>, initially brings to mind. But rather than evoking a cloak under which to disappear, \u003cem>Into the Shroud\u003c/em> speaks more to riding out the chaos of tumultuous times, painting a picture of mounting tension and paranoia. “Into the shroud / I’m spiral bound,” sings vocalist \u003ca href=\"http://tellyboys.com/\" rel=\"noopener\" target=\"_blank\">Jess Scott\u003c/a> on the album’s titular track, alluding to an impending storm of anxiety and paranoia. \u003c/p>\n\u003cp>It’s “not that I have this massive, intense struggle with anxiety, but I do have it,” says the singer in a phone interview from Los Angeles, where she’s been living for the past year while the rest of the band resides in San Francisco and Oakland. “For me, [\u003cem>Into the Shroud\u003c/em>] meant peering into the cyclone of not being in total control of how I feel.”\u003c/p>\n\u003cp>\u003cem>Into the Shroud\u003c/em>, released this month on \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a>, has steadily garnered national attention. The album’s lead single, “Destination Moon,” got a \u003ca href=\"http://www.npr.org/sections/allsongs/2017/06/28/534688469/dreamy-post-punks-flesh-world-blast-off-to-destination-moon\" rel=\"noopener\" target=\"_blank\">glowing review\u003c/a> from NPR. Flesh World also recently returned from a national tour with \u003ca href=\"https://sheermag.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Sheer Mag\u003c/a>, the buzzworthy Philadelphia power-pop band whom \u003cem>The Fader\u003c/em> dubbed “the best band nobody can sign.” \u003c/p>\n\u003cfigure id=\"attachment_13810348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg\" alt=\"Flesh World's 'Into the Shroud' draws from a rich history of queer film and literature. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13810348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flesh World’s ‘Into the Shroud’ draws from a rich history of queer film and literature.\u003c/figcaption>\u003c/figure>\n\u003cp>Though Scott founded Flesh World with guitarist Scott Moore only five years ago, in many ways, the band’s origin story reflects San Francisco’s storied past as a hub for dreamers and artists: According to the band’s oft-repeated lore, Scott and Moore met in San Francisco’s Panhandle district at the former headquarters of the influential punk fanzine \u003cem>Maximum Rocknroll\u003c/em>. There, they bonded over their genre-agnostic music tastes and eventually embarked on their unlikely collaboration. Moore came from the hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/album/facades\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>, which has been around since 1998 and is practically synonymous with queer punk. Scott was previously the band leader of indie rock band \u003ca href=\"http://www.maximumrocknroll.com/blast-from-the-past-brilliant-colors/\" rel=\"noopener\" target=\"_blank\">Brilliant Colors\u003c/a> — Limp Wrist’s polar opposite, with washed-out, psychedelic instrumentation and hazy vocals. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scott recalls how Brilliant Colors sometimes opened for Limp Wrist before she and Moore decided to start Flesh World. “That used to be kind of the cool thing about San Francisco: Because the scene was so small and everyone’s bands didn’t sound the same, it was kind of just like, if you wanted to hang out, your band would play. It didn’t matter what it sounded like.”\u003c/p>\n\u003cp>As Flesh World, the band members combined Scott’s unpolished, wispy pop vocals and bright distorted guitar playing with Moore’s dense guitar riffs, which evoke the speed and agility of hardcore minus its aggression. A driving, steady rhythm section courtesy of bassist Andrew Luttrell and drummer Sam Lefebvre (a journalist and occasional KQED Arts contributor) amps up Flesh World’s somewhat melancholic melodies, making them more substantial and robust. The band dubbed this dynamic fusion “dream punk” — a fitting description for the juxtaposition between the album’s celestial timbre and bubbling swell of energy. \u003c/p>\n\u003cp>While Scott and Moore both identify as queer, LGBTQ identity isn’t at the forefront of Flesh World. Instead, Scott, an avid reader and cinephile, took inspiration from a variety of queer cultural icons for her lyrics on the album’s eight tracks. “To me, it seems incredibly obvious that Scott [Moore] and I are gay based on talking to us for five seconds — and the writers we reference and the films and painters and stuff like that,” she says, adding that her influences included early 20th-century filmmaker Jean Cocteau — whose work is referenced on several \u003ca href=\"http://www.nme.com/photos/the-smiths-the-stories-behind-all-27-of-their-provocative-album-and-single-sleeves-1424816\" rel=\"noopener\" target=\"_blank\">Smiths album covers\u003c/a> — and \u003ca href=\"https://beta.theglobeandmail.com/arts/books-and-media/the-unique-genius-of-cookie-mueller/article21992884/?ref=http://www.theglobeandmail.com&\" rel=\"noopener\" target=\"_blank\">Cookie Mueller\u003c/a>, a writer and actress who starred in several John Waters films. \u003c/p>\n\u003cp>Flesh World’s collage of sounds and influences might come off as an odd combination — even to the band members themselves — but on \u003cem>Into the Shroud\u003c/em> it blends seamlessly.\u003c/p>\n\u003cp>“I can almost certainly say neither [Moore nor I] thought we’d even record when we started,” Scott laughed, “let alone still be tramping our words around five years later.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Flesh World performs at the Elbo Room in San Francisco on Oct. 4. More information \u003ca href=\"https://www.facebook.com/events/116739162281764\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the Las Vegas shooting and the aftermath of Hurricanes Harvey and Irma dominating our newsfeeds and inner monologues, it can be tempting to retreat from the world and hide under our blankets. \u003c/p>\n\u003cp>That’s the image the title of the new album from Bay Area post-punk band Flesh World, \u003ca href=\"https://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">\u003cem>Into the Shroud\u003c/em>\u003c/a>, initially brings to mind. But rather than evoking a cloak under which to disappear, \u003cem>Into the Shroud\u003c/em> speaks more to riding out the chaos of tumultuous times, painting a picture of mounting tension and paranoia. “Into the shroud / I’m spiral bound,” sings vocalist \u003ca href=\"http://tellyboys.com/\" rel=\"noopener\" target=\"_blank\">Jess Scott\u003c/a> on the album’s titular track, alluding to an impending storm of anxiety and paranoia. \u003c/p>\n\u003cp>It’s “not that I have this massive, intense struggle with anxiety, but I do have it,” says the singer in a phone interview from Los Angeles, where she’s been living for the past year while the rest of the band resides in San Francisco and Oakland. “For me, [\u003cem>Into the Shroud\u003c/em>] meant peering into the cyclone of not being in total control of how I feel.”\u003c/p>\n\u003cp>\u003cem>Into the Shroud\u003c/em>, released this month on \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a>, has steadily garnered national attention. The album’s lead single, “Destination Moon,” got a \u003ca href=\"http://www.npr.org/sections/allsongs/2017/06/28/534688469/dreamy-post-punks-flesh-world-blast-off-to-destination-moon\" rel=\"noopener\" target=\"_blank\">glowing review\u003c/a> from NPR. Flesh World also recently returned from a national tour with \u003ca href=\"https://sheermag.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Sheer Mag\u003c/a>, the buzzworthy Philadelphia power-pop band whom \u003cem>The Fader\u003c/em> dubbed “the best band nobody can sign.” \u003c/p>\n\u003cfigure id=\"attachment_13810348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg\" alt=\"Flesh World's 'Into the Shroud' draws from a rich history of queer film and literature. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13810348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flesh World’s ‘Into the Shroud’ draws from a rich history of queer film and literature.\u003c/figcaption>\u003c/figure>\n\u003cp>Though Scott founded Flesh World with guitarist Scott Moore only five years ago, in many ways, the band’s origin story reflects San Francisco’s storied past as a hub for dreamers and artists: According to the band’s oft-repeated lore, Scott and Moore met in San Francisco’s Panhandle district at the former headquarters of the influential punk fanzine \u003cem>Maximum Rocknroll\u003c/em>. There, they bonded over their genre-agnostic music tastes and eventually embarked on their unlikely collaboration. Moore came from the hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/album/facades\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>, which has been around since 1998 and is practically synonymous with queer punk. Scott was previously the band leader of indie rock band \u003ca href=\"http://www.maximumrocknroll.com/blast-from-the-past-brilliant-colors/\" rel=\"noopener\" target=\"_blank\">Brilliant Colors\u003c/a> — Limp Wrist’s polar opposite, with washed-out, psychedelic instrumentation and hazy vocals. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scott recalls how Brilliant Colors sometimes opened for Limp Wrist before she and Moore decided to start Flesh World. “That used to be kind of the cool thing about San Francisco: Because the scene was so small and everyone’s bands didn’t sound the same, it was kind of just like, if you wanted to hang out, your band would play. It didn’t matter what it sounded like.”\u003c/p>\n\u003cp>As Flesh World, the band members combined Scott’s unpolished, wispy pop vocals and bright distorted guitar playing with Moore’s dense guitar riffs, which evoke the speed and agility of hardcore minus its aggression. A driving, steady rhythm section courtesy of bassist Andrew Luttrell and drummer Sam Lefebvre (a journalist and occasional KQED Arts contributor) amps up Flesh World’s somewhat melancholic melodies, making them more substantial and robust. The band dubbed this dynamic fusion “dream punk” — a fitting description for the juxtaposition between the album’s celestial timbre and bubbling swell of energy. \u003c/p>\n\u003cp>While Scott and Moore both identify as queer, LGBTQ identity isn’t at the forefront of Flesh World. Instead, Scott, an avid reader and cinephile, took inspiration from a variety of queer cultural icons for her lyrics on the album’s eight tracks. “To me, it seems incredibly obvious that Scott [Moore] and I are gay based on talking to us for five seconds — and the writers we reference and the films and painters and stuff like that,” she says, adding that her influences included early 20th-century filmmaker Jean Cocteau — whose work is referenced on several \u003ca href=\"http://www.nme.com/photos/the-smiths-the-stories-behind-all-27-of-their-provocative-album-and-single-sleeves-1424816\" rel=\"noopener\" target=\"_blank\">Smiths album covers\u003c/a> — and \u003ca href=\"https://beta.theglobeandmail.com/arts/books-and-media/the-unique-genius-of-cookie-mueller/article21992884/?ref=http://www.theglobeandmail.com&\" rel=\"noopener\" target=\"_blank\">Cookie Mueller\u003c/a>, a writer and actress who starred in several John Waters films. \u003c/p>\n\u003cp>Flesh World’s collage of sounds and influences might come off as an odd combination — even to the band members themselves — but on \u003cem>Into the Shroud\u003c/em> it blends seamlessly.\u003c/p>\n\u003cp>“I can almost certainly say neither [Moore nor I] thought we’d even record when we started,” Scott laughed, “let alone still be tramping our words around five years later.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Flesh World performs at the Elbo Room in San Francisco on Oct. 4. More information \u003ca href=\"https://www.facebook.com/events/116739162281764\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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