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"content": "\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\u003c/p>\n\u003cp>[ad floatright]\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": "The uncertain future of SoundCloud, the audio-hosting platform where many Bay Area artists have thrived, leaves musicians and performers worried.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Justin Bieber has spent the last 18 months on the road promoting his album “Purpose.” But after more than 150 shows on six continents, Bieber abruptly announced today that he is canceling the last leg of the tour. There were more than a dozen dates left across North America and East Asia, including high-profile stops at the MetLife Stadium in East Rutherford, N.J., the Rose Bowl Stadium in Pasadena, Calif. and Tokyo’s Ajinomoto Stadium.\u003c/p>\n\u003cp>Last week, the singer was barred from performing in China due to his “bad behavior,” the country’s Municipal Bureau of Culture \u003ca href=\"http://www.independent.co.uk/news/world/asia/justin-bieber-china-ban-concerts-performing-bad-behaviour-a7853616.html\" target=\"_blank\" rel=\"noopener\">asserted\u003c/a>.\u003c/p>\n\u003cp>The pop megastar’s team posted a \u003ca href=\"http://www.justinbiebermusic.com/\" target=\"_blank\" rel=\"noopener\">message\u003c/a> on his website this afternoon, stating that his cancellation was due to “unforeseen circumstances.” But the tour has already been highly lucrative: as of April, it had grossed about \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7751681/justin-bieber-purpose-world-tour-earnings\" target=\"_blank\" rel=\"noopener\">$200 million\u003c/a>, according to \u003cem>Billboard\u003c/em> Magazine. \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=%27Sorry%2C%27+Beliebers%3A+Justin+Bieber+Has+Abruptly+Canceled+The+Rest+Of+His+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Justin Bieber has spent the last 18 months on the road promoting his album “Purpose.” But after more than 150 shows on six continents, Bieber abruptly announced today that he is canceling the last leg of the tour. There were more than a dozen dates left across North America and East Asia, including high-profile stops at the MetLife Stadium in East Rutherford, N.J., the Rose Bowl Stadium in Pasadena, Calif. and Tokyo’s Ajinomoto Stadium.\u003c/p>\n\u003cp>Last week, the singer was barred from performing in China due to his “bad behavior,” the country’s Municipal Bureau of Culture \u003ca href=\"http://www.independent.co.uk/news/world/asia/justin-bieber-china-ban-concerts-performing-bad-behaviour-a7853616.html\" target=\"_blank\" rel=\"noopener\">asserted\u003c/a>.\u003c/p>\n\u003cp>The pop megastar’s team posted a \u003ca href=\"http://www.justinbiebermusic.com/\" target=\"_blank\" rel=\"noopener\">message\u003c/a> on his website this afternoon, stating that his cancellation was due to “unforeseen circumstances.” But the tour has already been highly lucrative: as of April, it had grossed about \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7751681/justin-bieber-purpose-world-tour-earnings\" target=\"_blank\" rel=\"noopener\">$200 million\u003c/a>, according to \u003cem>Billboard\u003c/em> Magazine. \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=%27Sorry%2C%27+Beliebers%3A+Justin+Bieber+Has+Abruptly+Canceled+The+Rest+Of+His+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Majel Connery has achieved the practically impossible: she makes contemporary opera feel both accessible and hip.\u003c/p>\n\u003cp>The Nebraska-born, Berkeley-based vocalist, composer, director, and producer is a relentless ambassador for the art form. \u003cem>The New York Times\u003c/em> called her world-premiere staging of George Friedrich Haas’s monodrama \u003cem>ATTHIS\u003c/em> (with her company \u003ca href=\"http://www.operacabal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cabal\u003c/a>) “one of the most searingly painful and revealing operatic performances in recent times.” Meanwhile, after Connery’s 2017 album \u003ca href=\"http://www.beauchampartistservices.com/passionate-pilgrim-booking\" target=\"_blank\" rel=\"noopener noreferrer\">Passionate Pilgrim\u003c/a>, recorded with with her composer collective \u003ca href=\"http://www.oraclehysterical.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle Hysterical\u003c/a>, the \u003cem>The Wall Street Journal\u003c/em> praised her voice as “uninflected and vibrato-free, alternately borrowing from the interpretive sophistication of jazz or musical theater and the deliberate naiveté of folk-rock.”\u003c/p>\n\u003cp>Oh — and Connery is also a scholar. She holds a Ph.D in musicology from the University of Chicago and has held positions at Stanford University, UC Berkeley, Wellesley College, and Princeton University.\u003c/p>\n\u003cfigure id=\"attachment_13631682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13631682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-800x451.jpg\" alt=\"Majel Connery giving a performance in downtown Chicago, May 2015.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Majel Connery giving a performance in downtown Chicago, May 2015. \u003ccite>(Photo: Lara Kastner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did you decide to found Opera Cabal?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea occurred to me sitting in the nosebleed section of a production of Arnold Schoenberg’s \u003cem>Pierrot Lunaire\u003c/em> in Chicago. The opera was a collaboration between the ensemble Eighth Blackbird and puppeteer Blair Thomas. Eighth Blackbird wore these stiff white \u003cem>commedia dell’arte\u003c/em> costumes that made it almost impossible for them to play their instruments; meanwhile, Blair’s invisible puppeteers were weaving around the stage, hoisting up a giant pink Pierrot puppet the size of a parade float. \u003cem>Pierrot\u003c/em> is a dark, obscure opera, but here was this production that balanced beauty, cheek, and shock value. I remember thinking all art should be this interesting. I went off that night with my then–co-founder, conductor Nicholas DeMaison, and we started throwing spaghetti at the walls — figuratively speaking. The company has gone through mutations since then, but it’s always about trying to recapture that same impossible combination of imagination, loveliness and sheer nerve.\u003c/p>\n\u003cp>https://youtu.be/FZHMpNvw1y4\u003c/p>\n\u003cp>\u003cstrong>How and why did you go about bringing other vocal styles like jazz and indie rock into your work?\u003c/strong>\u003c/p>\n\u003cp>In my late teens and early twenties, I passed through the conventional opera mill. I studied at the right institutions with the right people. But learning traditional operatic \u003cem>bel canto\u003c/em> singing is a lot like going to medical school — there’s a prescribed path to specialization, and for me it got claustrophobic quickly. Singing the “right” way felt like pulling on a suit of armor. On the other hand, singers like Judy Garland, Carole King and Billie Holiday offered me a different kind of education. These are performers who teach you how to sing and mean it.\u003c/p>\n\u003cp>So Opera Cabal allows me to have my cake and eat it too: I do opera, but I do it in a way that feels authentic to the voices I identify with. The inclusion of alternative voices is, I think, the final frontier that opera has yet to cross. The art form is getting better at intimate spaces, shorter duration and cheaper ticket prices. But there’s still the expectation that at the end of the day you’re getting the heavy-hitting operatic voices. I just did an opera with the composer and throat singer \u003ca href=\"http://www.kenueno.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Ueno\u003c/a>. Most people wouldn’t call that opera, and that’s precisely the stereotype I’m fighting.\u003c/p>\n\u003cfigure id=\"attachment_13703781\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/majel-edited-2-800x1200.jpg\" alt=\"Majel Connery\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Majel Connery. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In addition to your artistic career, you are also a scholar. How do those two worlds intersect, for better and for worse?\u003c/strong>\u003c/p>\n\u003cp>An “artist-scholar” isn’t yet a recognized identity, and I often end up wearing one hat or the other because wearing both confuses people. Artists are often shocked to hear I have a Ph.D., while my colleagues in academia are, like, “what, you sing?” I’m trying to model a professional identity that puts pressure on the arbitrary separation between theory and practice. Academics tend to forget how creative their work is; they’re writers! And artists spend more time rationalizing than they admit; they’re researchers! For me, universities are the perfect place to unlearn this divide. When I teach, I try to help my students understand that we’re unpacking theoretical texts to become better artists, and making art to become better thinkers.\u003c/p>\n\u003cp>\u003cstrong>What do you most adore — and find most challenging — about being an artist in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The Bay Area is inspiring in a way that’s new to me. Most of my life I lived in grungy, arty neighborhoods in Chicago or New York where the vibe is, “we’re artists, get with the bohemian program and start suffering.” In Chicago, it was winter eight months of the year, and I lived in a gang-controled neighborhood where my boyfriend’s car got set on fire. And we accepted that as normal. When I got to the Bay Area, my jaw hit the ground — the fog, the seriously steep hills, the massive, beautiful plants. It was like stepping into the real Jurassic Park. The downside is that it’s harder to lock yourself in a cold, dark studio furiously making art when there are cool hills to climb. Moving here, I lost some of the desperate intensity that’s useful when you’re trying to create. But I might live longer because of it.\u003c/p>\n\u003cfigure id=\"attachment_13631681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13631681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-800x452.jpg\" alt=\"Majel Connery in a performance by Oracle Hysterical on tour at The Hideout, Chicago West Loop, July 2016.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Majel Connery in a performance by Oracle Hysterical on tour at The Hideout, Chicago West Loop, July 2016. \u003ccite>(Photo: Lara Kastner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In your work with Opera Cabal, Oracle Hysterical and elsewhere, you gravitate towards contemporary music projects. Why do you choose to focus on new work in particular?\u003c/strong>\u003c/p>\n\u003cp>The easy answer is that there are lots of presenters offering \u003cem>La\u003c/em> \u003cem>Bohème \u003c/em>for the 999th time. Far fewer are laying the groundwork for a generation of new work. But there’s also something deep in me that just loves the process of bringing new things into the world. When I was little I used to construct elaborate lego castles. But then, once they were built, I didn’t play with them; I just wanted to build more castles. I like being in the creative trenches, and there’s nothing like the “Eureka!” moment when a good idea first begins to take root. Waiting for those moments takes patience. I gamble on new collaborators and new spaces, and I confront the real possibility of failure way more than I’m actually comfortable with. But the payoff is that there’s a lot of music in the world today that wouldn’t be there if I hadn’t created the conditions for it to exist.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>There’s a mysterious diffuseness about the Bay Area arts scene. But the right banding together of talent, resources, and big ideas could become a movement. There are so many ways the Bay Area could really take off: with a new performing arts space, a branded network of artistic professionals, a consortium of non-profits, a Sonoma Summer Music Festival — or, who knows, an annual KQED Women to Watch public brainstorm!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you\u003c/a>! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Majel Connery has achieved the practically impossible: she makes contemporary opera feel both accessible and hip.",
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"title": "Women to Watch: Majel Connery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Majel Connery has achieved the practically impossible: she makes contemporary opera feel both accessible and hip.\u003c/p>\n\u003cp>The Nebraska-born, Berkeley-based vocalist, composer, director, and producer is a relentless ambassador for the art form. \u003cem>The New York Times\u003c/em> called her world-premiere staging of George Friedrich Haas’s monodrama \u003cem>ATTHIS\u003c/em> (with her company \u003ca href=\"http://www.operacabal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cabal\u003c/a>) “one of the most searingly painful and revealing operatic performances in recent times.” Meanwhile, after Connery’s 2017 album \u003ca href=\"http://www.beauchampartistservices.com/passionate-pilgrim-booking\" target=\"_blank\" rel=\"noopener noreferrer\">Passionate Pilgrim\u003c/a>, recorded with with her composer collective \u003ca href=\"http://www.oraclehysterical.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oracle Hysterical\u003c/a>, the \u003cem>The Wall Street Journal\u003c/em> praised her voice as “uninflected and vibrato-free, alternately borrowing from the interpretive sophistication of jazz or musical theater and the deliberate naiveté of folk-rock.”\u003c/p>\n\u003cp>Oh — and Connery is also a scholar. She holds a Ph.D in musicology from the University of Chicago and has held positions at Stanford University, UC Berkeley, Wellesley College, and Princeton University.\u003c/p>\n\u003cfigure id=\"attachment_13631682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13631682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-800x451.jpg\" alt=\"Majel Connery giving a performance in downtown Chicago, May 2015.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Photographed-by-Lara-Kastner-inside-the-Crucial-Detail-warehouse-downtown-Chicago-May-2015.-e1499726104717-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Majel Connery giving a performance in downtown Chicago, May 2015. \u003ccite>(Photo: Lara Kastner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did you decide to found Opera Cabal?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea occurred to me sitting in the nosebleed section of a production of Arnold Schoenberg’s \u003cem>Pierrot Lunaire\u003c/em> in Chicago. The opera was a collaboration between the ensemble Eighth Blackbird and puppeteer Blair Thomas. Eighth Blackbird wore these stiff white \u003cem>commedia dell’arte\u003c/em> costumes that made it almost impossible for them to play their instruments; meanwhile, Blair’s invisible puppeteers were weaving around the stage, hoisting up a giant pink Pierrot puppet the size of a parade float. \u003cem>Pierrot\u003c/em> is a dark, obscure opera, but here was this production that balanced beauty, cheek, and shock value. I remember thinking all art should be this interesting. I went off that night with my then–co-founder, conductor Nicholas DeMaison, and we started throwing spaghetti at the walls — figuratively speaking. The company has gone through mutations since then, but it’s always about trying to recapture that same impossible combination of imagination, loveliness and sheer nerve.\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/FZHMpNvw1y4'\n title='//www.youtube.com/embed/FZHMpNvw1y4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How and why did you go about bringing other vocal styles like jazz and indie rock into your work?\u003c/strong>\u003c/p>\n\u003cp>In my late teens and early twenties, I passed through the conventional opera mill. I studied at the right institutions with the right people. But learning traditional operatic \u003cem>bel canto\u003c/em> singing is a lot like going to medical school — there’s a prescribed path to specialization, and for me it got claustrophobic quickly. Singing the “right” way felt like pulling on a suit of armor. On the other hand, singers like Judy Garland, Carole King and Billie Holiday offered me a different kind of education. These are performers who teach you how to sing and mean it.\u003c/p>\n\u003cp>So Opera Cabal allows me to have my cake and eat it too: I do opera, but I do it in a way that feels authentic to the voices I identify with. The inclusion of alternative voices is, I think, the final frontier that opera has yet to cross. The art form is getting better at intimate spaces, shorter duration and cheaper ticket prices. But there’s still the expectation that at the end of the day you’re getting the heavy-hitting operatic voices. I just did an opera with the composer and throat singer \u003ca href=\"http://www.kenueno.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Ueno\u003c/a>. Most people wouldn’t call that opera, and that’s precisely the stereotype I’m fighting.\u003c/p>\n\u003cfigure id=\"attachment_13703781\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703781\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/majel-edited-2-800x1200.jpg\" alt=\"Majel Connery\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/majel-edited-2.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Majel Connery. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In addition to your artistic career, you are also a scholar. How do those two worlds intersect, for better and for worse?\u003c/strong>\u003c/p>\n\u003cp>An “artist-scholar” isn’t yet a recognized identity, and I often end up wearing one hat or the other because wearing both confuses people. Artists are often shocked to hear I have a Ph.D., while my colleagues in academia are, like, “what, you sing?” I’m trying to model a professional identity that puts pressure on the arbitrary separation between theory and practice. Academics tend to forget how creative their work is; they’re writers! And artists spend more time rationalizing than they admit; they’re researchers! For me, universities are the perfect place to unlearn this divide. When I teach, I try to help my students understand that we’re unpacking theoretical texts to become better artists, and making art to become better thinkers.\u003c/p>\n\u003cp>\u003cstrong>What do you most adore — and find most challenging — about being an artist in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The Bay Area is inspiring in a way that’s new to me. Most of my life I lived in grungy, arty neighborhoods in Chicago or New York where the vibe is, “we’re artists, get with the bohemian program and start suffering.” In Chicago, it was winter eight months of the year, and I lived in a gang-controled neighborhood where my boyfriend’s car got set on fire. And we accepted that as normal. When I got to the Bay Area, my jaw hit the ground — the fog, the seriously steep hills, the massive, beautiful plants. It was like stepping into the real Jurassic Park. The downside is that it’s harder to lock yourself in a cold, dark studio furiously making art when there are cool hills to climb. Moving here, I lost some of the desperate intensity that’s useful when you’re trying to create. But I might live longer because of it.\u003c/p>\n\u003cfigure id=\"attachment_13631681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13631681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-800x452.jpg\" alt=\"Majel Connery in a performance by Oracle Hysterical on tour at The Hideout, Chicago West Loop, July 2016.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/From-a-performance-by-Oracle-Hysterical-on-tour-at-The-Hideout-Chicago-West-Loop-July-2016.-Photographed-by-Lara-Kastner.--e1499726270958-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Majel Connery in a performance by Oracle Hysterical on tour at The Hideout, Chicago West Loop, July 2016. \u003ccite>(Photo: Lara Kastner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In your work with Opera Cabal, Oracle Hysterical and elsewhere, you gravitate towards contemporary music projects. Why do you choose to focus on new work in particular?\u003c/strong>\u003c/p>\n\u003cp>The easy answer is that there are lots of presenters offering \u003cem>La\u003c/em> \u003cem>Bohème \u003c/em>for the 999th time. Far fewer are laying the groundwork for a generation of new work. But there’s also something deep in me that just loves the process of bringing new things into the world. When I was little I used to construct elaborate lego castles. But then, once they were built, I didn’t play with them; I just wanted to build more castles. I like being in the creative trenches, and there’s nothing like the “Eureka!” moment when a good idea first begins to take root. Waiting for those moments takes patience. I gamble on new collaborators and new spaces, and I confront the real possibility of failure way more than I’m actually comfortable with. But the payoff is that there’s a lot of music in the world today that wouldn’t be there if I hadn’t created the conditions for it to exist.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>There’s a mysterious diffuseness about the Bay Area arts scene. But the right banding together of talent, resources, and big ideas could become a movement. There are so many ways the Bay Area could really take off: with a new performing arts space, a branded network of artistic professionals, a consortium of non-profits, a Sonoma Summer Music Festival — or, who knows, an annual KQED Women to Watch public brainstorm!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you\u003c/a>! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We cover a lot of bands and other collaborative efforts on our podcast, but the Bay Area music scene is also full of extremely talented solo artists — ones who build unique musical works that are often performed, recorded, and produced solely by the artists themselves.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s Mix of Big Sounds From Bay Area Solo Artists.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Solo_Artists_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>This mixtape collects new and recent music from 10 amazing Bay Area solo artists. Whether recording in solitude, like Fronds and Spellling, or with the support of talented peers, as was the case for James Riotto and Tanukichan, the performers included here have crafted rock and pop music that, unsurprisingly, feels distinctly personal. That feeling manifests in a number of ways throughout the mix; for the music of Grace Sings Sludge and Fletcher Tucker, in fact, the atmosphere can be downright haunting.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 10 artists.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/frondsband/\">Fronds\u003c/a>\u003c/strong> – “Pacific”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://spellling.bandcamp.com/\">Spellling\u003c/a>\u003c/strong> – “Walk Up To Your House”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/maxgardener1/\">Max Gardener\u003c/a>\u003c/strong> – “Sudden Love”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://jamesriotto.bandcamp.com/\">James Riotto\u003c/a>\u003c/strong> – “Mineral King”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://madelinekenney.bandcamp.com/\">Madeline Kenney\u003c/a>\u003c/strong> – “Rita”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/gentlespirit0.0/\">Gentle Spirit\u003c/a>\u003c/strong> – “We Finish Where We Start”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gracesingssludge.bandcamp.com/\">Grace Sings Sludge\u003c/a>\u003c/strong> – “In Spite Of Doom”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/fletchertuckermusic/\">Fletcher Tucker\u003c/a>\u003c/strong> – “Descend”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tanukichanmusic/\">Tanukichan\u003c/a>\u003c/strong> – “Enough”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/ActualWolf/\">Actual Wolf\u003c/a>\u003c/strong> – “Faded Days”\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We cover a lot of bands and other collaborative efforts on our podcast, but the Bay Area music scene is also full of extremely talented solo artists — ones who build unique musical works that are often performed, recorded, and produced solely by the artists themselves.\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s Mix of Big Sounds From Bay Area Solo Artists.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Solo_Artists_Mixtape.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>This mixtape collects new and recent music from 10 amazing Bay Area solo artists. Whether recording in solitude, like Fronds and Spellling, or with the support of talented peers, as was the case for James Riotto and Tanukichan, the performers included here have crafted rock and pop music that, unsurprisingly, feels distinctly personal. That feeling manifests in a number of ways throughout the mix; for the music of Grace Sings Sludge and Fletcher Tucker, in fact, the atmosphere can be downright haunting.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 10 artists.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\">\u003cstrong>Subscribe to The Bay Bridged Podcast!\u003c/strong>\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cu>Track Listing\u003c/u>:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "women-to-watch-kelley-coyne",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>The world of professional audio has long been a boys’ club. A study done in 2000 found \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener noreferrer\">that just 5 percent\u003c/a> of working audio engineers were women, and some engineers say that percentage has decreased since then. But Kelley Coyne of \u003ca href=\"https://www.womensaudiomission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Women’s Audio Mission\u003c/a> (WAM) is doing her part to shatter the soundproof glass ceiling.\u003c/p>\n\u003cp>As WAM’s program coordinator, Coyne runs a variety of classes and camps demonstrating the ins and outs of studio and live sound production, inspiring her middle- and high-school–aged students to pick up microphones and lay down their own tracks — for music, podcasts and more.\u003c/p>\n\u003cp>https://youtu.be/gRyXHdedg1E\u003c/p>\n\u003cp>Don’t be mistaken, that old idiom “those who can, do; those who can’t, teach” does not apply to Coyne. Her music career started at the illustrious 9:30 Club in Washington, D.C., and she’s piloted mixing consoles at local studio Tiny Telephone and local clubs like the Rickshaw Stop. Her journey into the studio world is just as inspiring as her tales of teenagers discovering their love for sound. Hearing her tell her story makes me glad someone so genuinely enthusiastic about recording gets to share that enthusiasm with today’s youth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How did you get started working in audio production and teaching it?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13703768\" class=\"wp-caption alignright\" style=\"max-width: 982px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/kelley-edited-1.png\" alt=\"Kelley Coyne\" width=\"982\" height=\"1473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1.png 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-800x1200.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-960x1440.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-240x360.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-375x563.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-520x780.png 520w\" sizes=\"(max-width: 982px) 100vw, 982px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Coyne \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I got into audio in a roundabout way. I grew up in upstate New York and all throughout school, music was my passion. But I was a lot better in technical fields like science and math. Somewhere in there I worked at a music venue and really got interested in live sound.\u003c/p>\n\u003cp>So when I came out to the Bay Area for a teaching job at an after-school program, I decided to go back to school for sound. I went to get my certificate at SF State — they have an extended learning program. Just a few months in, I landed internships at WAM, the Rickshaw Stop and Tiny Telephone.\u003c/p>\n\u003cp>The cool thing about WAM was that I had teaching experience, so I got hired just a few months in, and that was five years ago.\u003c/p>\n\u003cp>\u003cb>The recording world is so male-dominated, have you ever run into external sexism?\u003c/b>\u003c/p>\n\u003cp>Where do I begin? Just kidding. [Laughs] I should preface this that I’ve had so many great male mentors, so it’s not everyone.\u003c/p>\n\u003cp>In live sound, I’ve definitely been mistaken as the intern a lot. I had a moment where I met this engineer that I really look up to. I was so excited to meet him, and then he said, “You got to teach women to take a pat on the butt every once in awhile if they want to be in the studio.” It was really disheartening.\u003c/p>\n\u003cp>Other than that, I go to this conference with WAM every year called AES (Audio Engineering Society) and we set up a booth. I’ve been going for five years and since I first started going, I’ve seen this huge shift.\u003c/p>\n\u003cp>During the first two years, I would hear, “I don’t get it. Women would be in the industry if they wanted to be.” So it was a lot of me saying, “It’s a lot more complicated than that.” A lot of women don’t know this is a possible job. Then they go to audio school and they’re by themselves so they drop out.\u003c/p>\n\u003cp>But at the same time, we get a lot of younger men who are super stoked that we are there and they pass on our information to women in their programs. So it gets better every year, honestly.\u003c/p>\n\u003cp>\u003cb>What kind of demographic are you reaching through Women’s Audio Mission?\u003c/b>\u003c/p>\n\u003cp>Most classes are sixth to eighth grade, and we have a few high school classes as well. We train more than 1,200 women and girls a year. That number is going to drastically change soon because we just signed a lease in Oakland and we’re going to reach 10 or more schools that we couldn’t take on before because we didn’t have the capacity.\u003c/p>\n\u003cp>I just can’t believe I get to do it for a job. It’s really fun.\u003c/p>\n\u003cfigure id=\"attachment_13703769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/kelley-edited-2.jpg\" alt=\"Kelley Coyne\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Coyne \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you get students interested in the studio experience?\u003c/b>\u003c/p>\n\u003cp>We have the advantage of music. Music is the carrot, and then they see that they can control this huge mixer and do what they want with the music. They totally get where the power in production is and then they jump on it.\u003c/p>\n\u003cp>I think our main goal is to demystify this technology, so even if they don’t become a sound engineer, they might see someone coding and be like, “Oh, I’ve coded a drum machine before. I can do computer science!” They become more open to other technologies as well.\u003c/p>\n\u003cp>A lot of students in the \u003ca href=\"https://www.womensaudiomission.org/training/girls-on-the-mic/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls At The Mic\u003c/a> program tell me that they didn’t know they could work with technology because they’re just not around it. We get to go around to these schools and by the end of the semester they become total badasses.\u003c/p>\n\u003cp>\u003cb>What are the challenges of teaching such young students in a studio?\u003c/b>\u003c/p>\n\u003cp>Some of the challenges I’ve run into… there’s plenty. But I’ve become less structured in my classes. My first year of teaching was in a school and the whole thing with after-school programming is that I can be more lenient. If they’re more into podcasting, I can focus on that. I used to be more strict — “We’re on a strict schedule!” Now I try to be more aware of what they’re interested in. I also used to do a lot more Powerpoints and, oh my God, I don’t do that any more. I’ve found more hands-on ways to introduce lessons. But it’s been a lot of learning as I go.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think there’s a lot of external pressure for women to act, feel, and do certain things, so my hope is for every woman to take that weird and awesome journey to find their authentic selves, or who they really are under all that noise. I also think amazing strength and magic comes from women working together and supporting each other, so I hope that continues to grow and flourish in the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Learn more about Coyne’s work at \u003ca href=\"http://www.kelleycoyne.com/\" target=\"_blank\" rel=\"noopener noreferrer\">kelleycoyne.com\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a> series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>The world of professional audio has long been a boys’ club. A study done in 2000 found \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener noreferrer\">that just 5 percent\u003c/a> of working audio engineers were women, and some engineers say that percentage has decreased since then. But Kelley Coyne of \u003ca href=\"https://www.womensaudiomission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Women’s Audio Mission\u003c/a> (WAM) is doing her part to shatter the soundproof glass ceiling.\u003c/p>\n\u003cp>As WAM’s program coordinator, Coyne runs a variety of classes and camps demonstrating the ins and outs of studio and live sound production, inspiring her middle- and high-school–aged students to pick up microphones and lay down their own tracks — for music, podcasts and more.\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/gRyXHdedg1E'\n title='//www.youtube.com/embed/gRyXHdedg1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don’t be mistaken, that old idiom “those who can, do; those who can’t, teach” does not apply to Coyne. Her music career started at the illustrious 9:30 Club in Washington, D.C., and she’s piloted mixing consoles at local studio Tiny Telephone and local clubs like the Rickshaw Stop. Her journey into the studio world is just as inspiring as her tales of teenagers discovering their love for sound. Hearing her tell her story makes me glad someone so genuinely enthusiastic about recording gets to share that enthusiasm with today’s youth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How did you get started working in audio production and teaching it?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13703768\" class=\"wp-caption alignright\" style=\"max-width: 982px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/kelley-edited-1.png\" alt=\"Kelley Coyne\" width=\"982\" height=\"1473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1.png 982w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-800x1200.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-768x1152.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-960x1440.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-240x360.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-375x563.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-1-520x780.png 520w\" sizes=\"(max-width: 982px) 100vw, 982px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Coyne \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I got into audio in a roundabout way. I grew up in upstate New York and all throughout school, music was my passion. But I was a lot better in technical fields like science and math. Somewhere in there I worked at a music venue and really got interested in live sound.\u003c/p>\n\u003cp>So when I came out to the Bay Area for a teaching job at an after-school program, I decided to go back to school for sound. I went to get my certificate at SF State — they have an extended learning program. Just a few months in, I landed internships at WAM, the Rickshaw Stop and Tiny Telephone.\u003c/p>\n\u003cp>The cool thing about WAM was that I had teaching experience, so I got hired just a few months in, and that was five years ago.\u003c/p>\n\u003cp>\u003cb>The recording world is so male-dominated, have you ever run into external sexism?\u003c/b>\u003c/p>\n\u003cp>Where do I begin? Just kidding. [Laughs] I should preface this that I’ve had so many great male mentors, so it’s not everyone.\u003c/p>\n\u003cp>In live sound, I’ve definitely been mistaken as the intern a lot. I had a moment where I met this engineer that I really look up to. I was so excited to meet him, and then he said, “You got to teach women to take a pat on the butt every once in awhile if they want to be in the studio.” It was really disheartening.\u003c/p>\n\u003cp>Other than that, I go to this conference with WAM every year called AES (Audio Engineering Society) and we set up a booth. I’ve been going for five years and since I first started going, I’ve seen this huge shift.\u003c/p>\n\u003cp>During the first two years, I would hear, “I don’t get it. Women would be in the industry if they wanted to be.” So it was a lot of me saying, “It’s a lot more complicated than that.” A lot of women don’t know this is a possible job. Then they go to audio school and they’re by themselves so they drop out.\u003c/p>\n\u003cp>But at the same time, we get a lot of younger men who are super stoked that we are there and they pass on our information to women in their programs. So it gets better every year, honestly.\u003c/p>\n\u003cp>\u003cb>What kind of demographic are you reaching through Women’s Audio Mission?\u003c/b>\u003c/p>\n\u003cp>Most classes are sixth to eighth grade, and we have a few high school classes as well. We train more than 1,200 women and girls a year. That number is going to drastically change soon because we just signed a lease in Oakland and we’re going to reach 10 or more schools that we couldn’t take on before because we didn’t have the capacity.\u003c/p>\n\u003cp>I just can’t believe I get to do it for a job. It’s really fun.\u003c/p>\n\u003cfigure id=\"attachment_13703769\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13703769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/kelley-edited-2.jpg\" alt=\"Kelley Coyne\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Coyne \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How do you get students interested in the studio experience?\u003c/b>\u003c/p>\n\u003cp>We have the advantage of music. Music is the carrot, and then they see that they can control this huge mixer and do what they want with the music. They totally get where the power in production is and then they jump on it.\u003c/p>\n\u003cp>I think our main goal is to demystify this technology, so even if they don’t become a sound engineer, they might see someone coding and be like, “Oh, I’ve coded a drum machine before. I can do computer science!” They become more open to other technologies as well.\u003c/p>\n\u003cp>A lot of students in the \u003ca href=\"https://www.womensaudiomission.org/training/girls-on-the-mic/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls At The Mic\u003c/a> program tell me that they didn’t know they could work with technology because they’re just not around it. We get to go around to these schools and by the end of the semester they become total badasses.\u003c/p>\n\u003cp>\u003cb>What are the challenges of teaching such young students in a studio?\u003c/b>\u003c/p>\n\u003cp>Some of the challenges I’ve run into… there’s plenty. But I’ve become less structured in my classes. My first year of teaching was in a school and the whole thing with after-school programming is that I can be more lenient. If they’re more into podcasting, I can focus on that. I used to be more strict — “We’re on a strict schedule!” Now I try to be more aware of what they’re interested in. I also used to do a lot more Powerpoints and, oh my God, I don’t do that any more. I’ve found more hands-on ways to introduce lessons. But it’s been a lot of learning as I go.\u003c/p>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>I think there’s a lot of external pressure for women to act, feel, and do certain things, so my hope is for every woman to take that weird and awesome journey to find their authentic selves, or who they really are under all that noise. I also think amazing strength and magic comes from women working together and supporting each other, so I hope that continues to grow and flourish in the Bay Area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Learn more about Coyne’s work at \u003ca href=\"http://www.kelleycoyne.com/\" target=\"_blank\" rel=\"noopener noreferrer\">kelleycoyne.com\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a> series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "women-to-watch-rayana-jay",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Rayana Jay is the sort of talent that doesn’t stay a secret for long. After getting some local traction from posting some early songs on Soundcloud, the Vallejo-based singer garnered nationwide buzz with her 2016 EP, \u003cem>Sorry About Last Night\u003c/em>. Though she’s known for a languorous, neo-soul sound and lyrics about heartbreak (Amy Winehouse’s \u003cem>Back to Black\u003c/em> and Tweet’s \u003cem>Southern Hummingbird\u003c/em> are major influences), Jay’s recent singles “Everything” and “Magic” are upbeat and hook-laden enough to land on Top 40 radio — as soon as the labels discover her, that is.\u003c/p>\n\u003cp>Just 23 years old, Jay springs from a productive tribe of young Bay Area hip-hop and R&B artists, counting among her peers 1-O.A.K., P-Lo, Iamsu!, Drew Banga, Mikos Da Gawd, Jay Ant and more. When that much talent has your back, you know you’re doing something right. And there’s this: every friend who I’ve introduced to Jay’s music has become a diehard fan.\u003c/p>\n\u003cp>Before her next EP comes out this fall, I talked with Rayana Jay about love, the Bay Area, and the future.\u003c/p>\n\u003cfigure id=\"attachment_13689722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13689722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/rayana-edited-1-800x450.jpg\" alt=\"Rayana Jay at her church, Pilgrim Rest Missionary Baptist in South Richmond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay at her church, Pilgrim Rest Missionary Baptist in South Richmond. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe the importance of love in your music?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Love is everything to me. Before I put out my first EP people would ask me, “What kind of music do you make?” I just write love songs. It’s like an all-encompassing love. I’m in love, or I’m out of love, or I hate that I love you so much, or even, like, I love alcohol — love is at the root of every song. There’s a song called “Sunkissed” on my next project that’s about how much I love my people, how much I love black people. It’s one of my favorite songs of mine. So I don’t think that I would be the artist that I am if I didn’t have such a strong belief in love. Whether I’m in it with someone else, or I’m just in it by myself, I’m just always in love.\u003c/p>\n\u003cp>https://youtu.be/XViB7pOBdSc\u003c/p>\n\u003cp>\u003cstrong>What are some of the things in the Bay Area who made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>One of the main places is \u003ca href=\"https://youthradio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Radio\u003c/a> in downtown Oakland. That’s where I was first given the opportunity to make music, and shown that music was even a possibility for me. That’s also where I met \u003ca href=\"https://twitter.com/1oakALLDAY\" target=\"_blank\" rel=\"noopener noreferrer\">1-0.A.K.\u003c/a>, who ended up becoming my mentor, who’s now like a family member. And then Lake Merritt, in Oakland, just because I love it there, and it’s become a tribal place for me and my friends. We just go on Saturday, and drink cheap champagne and chill. We don’t get to do a lot — everybody’s so busy coming into their own greatness — so it’s always nice to settle down and come back to where we all started.\u003c/p>\n\u003cp>And then my church, \u003ca href=\"https://www.facebook.com/pilgrimrestrichmond/\" target=\"_blank\" rel=\"noopener noreferrer\">Pilgrim Rest Missionary Baptist\u003c/a>, in South Richmond. My great-uncle was the pastor since I was born, my auntie played the piano, my mom is a preacher, my granny has cooked for almost every occasion there. It’s not too big, it’s not small, everybody knows everybody. It’s a community, which I think a church should be. It’s the type of church where, if you’re sick or your family member’s sick, my granny will cook and take food to your house. It’s always been like that. For me, my church definitely helps not just to make me a spiritual person, but to give me the tools I need to remain strong and grounded in the music industry. A lot of people have problems with that.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/330554602″ params=”color=e2798b&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>A lot of people are stressed out and tense in the Bay Area right now. Are you a stressed-out person? How do you cope with it?\u003c/strong>\u003c/p>\n\u003cp>I’m always stressed. I’ve dealt with depression and anxiety. But I’ve been super blessed to live in a household where taking care of mental health is a very important thing. So, when I was younger, my mom would let me go to therapy, and I learned really good coping mechanisms there. A lot of people can recognize a stressful situation, but they don’t ever take themselves out of it. I’ve learned to remove myself when I need to. I’ve learned breathing techniques. I journal. I write a lot.\u003c/p>\n\u003cp>Music definitely helps me, and hopefully my music helps other people. I just want listeners to understand that I’ve been there too. Every song that I’ve written comes from a personal place, from experience. I write songs that I needed to hear when I was going through certain things. Like “Nothing to Talk About” — I wrote that about a breakup that I went through, and that’s one of my songs that’s doing the best, and I think it’s because they’re so many other young men and women who are going through that same exact thing. Which is perfect, it’s exactly what I wrote the song for.\u003c/p>\n\u003cfigure id=\"attachment_13689723\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13689723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/rayana-edited-2-800x1200.jpg\" alt=\"Rayana Jay.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are your personal deal breakers in a romantic relationship?\u003c/strong>\u003c/p>\n\u003cp>I was just talking about this with my mom! I can’t stand people who try to be funny and fail. Like, if you can make me genuinely laugh I’ll probably love you forever, but the moment you start trying too hard to make me laugh, and all the jokes are misses… I can’t do it. If you can’t make me laugh, I can’t see the future. And then people who are mean — like, if you go out to eat and you’re mean to the staff, that really grinds my gears. But other than that, I’m a pretty open person. We all have flaws.\u003c/p>\n\u003cp>\u003cstrong>What red flags have you experienced that you’d advise young women to steer clear from?\u003c/strong>\u003c/p>\n\u003cp>The moment you see that you’re putting in more effort than your partner? That’s one of the biggest red flags. It feels like you’re in a relationship with yourself. That’s the worst.\u003c/p>\n\u003cp>\u003cstrong>Your songs thrive on intimacy and honesty, operating like a one-on-one conversation. Which living person would you most like to meet, and what would you talk with them about?\u003c/strong>\u003c/p>\n\u003cp>I’d want to meet a poet named \u003ca href=\"http://www.nayyirahwaheed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nayyirah Waheed\u003c/a>, and I would talk to her about love and writing, because her poems are just ridiculously good — she makes you feel all these feelings in, like, two sentences. When I was going through my breakup with my last boyfriend, I was really, really sad, and my friend Bianca sent me this quote that said, “If someone does not want me it is not the end of the world. But if I do not want me, the world is nothing but endings.” I was like, \u003cem>who said that\u003c/em>?! That was what started this love I have for her. I don’t really know too much about her. She’s not too much older than me, so to see someone have such a firm grasp on the concept of love, and how she can write among this whole spectrum of it — I just want to know how her mind works.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311743126″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>You’ve had a prolific run in your twenties so far. Where do you see yourself in 10 years?\u003c/strong>\u003c/p>\n\u003cp>In 10 years I’ll be 33, and I want to be living in London and I want to have started a family. Of course still making music, playing shows, but I want to be almost iconic at that point — like a Kelis type artist, where I don’t really have to put out new music because everybody loves the old music so much.\u003c/p>\n\u003cp>I want to be successful on my own terms. I want to get my family a big house, or houses. I want to make sure my friends are good. I don’t necessarily want to be super rich, but I want to be successful in the way that I picture success.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think it looks like not having to be classified as women artists! I want us to have the same ranking as our male counterparts. I love the idea of all these women being put on these platforms, and getting so much recognition, but I just kind of hate the fact that we have to do it. We don’t have, like, the “Men to Watch.”\u003c/p>\n\u003cp>So for women artists, I just want us to be in the front, instead of having to be highlighted at certain times. I want our music to be the standard. I want our art to be the standard. I don’t want us to have another subcategory — I just want to be recognized as artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a voice and experience beyond her years, Rayana Jay is the type of talent that won't stay a secret for long.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Rayana Jay is the sort of talent that doesn’t stay a secret for long. After getting some local traction from posting some early songs on Soundcloud, the Vallejo-based singer garnered nationwide buzz with her 2016 EP, \u003cem>Sorry About Last Night\u003c/em>. Though she’s known for a languorous, neo-soul sound and lyrics about heartbreak (Amy Winehouse’s \u003cem>Back to Black\u003c/em> and Tweet’s \u003cem>Southern Hummingbird\u003c/em> are major influences), Jay’s recent singles “Everything” and “Magic” are upbeat and hook-laden enough to land on Top 40 radio — as soon as the labels discover her, that is.\u003c/p>\n\u003cp>Just 23 years old, Jay springs from a productive tribe of young Bay Area hip-hop and R&B artists, counting among her peers 1-O.A.K., P-Lo, Iamsu!, Drew Banga, Mikos Da Gawd, Jay Ant and more. When that much talent has your back, you know you’re doing something right. And there’s this: every friend who I’ve introduced to Jay’s music has become a diehard fan.\u003c/p>\n\u003cp>Before her next EP comes out this fall, I talked with Rayana Jay about love, the Bay Area, and the future.\u003c/p>\n\u003cfigure id=\"attachment_13689722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13689722\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/rayana-edited-1-800x450.jpg\" alt=\"Rayana Jay at her church, Pilgrim Rest Missionary Baptist in South Richmond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay at her church, Pilgrim Rest Missionary Baptist in South Richmond. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you describe the importance of love in your music?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Love is everything to me. Before I put out my first EP people would ask me, “What kind of music do you make?” I just write love songs. It’s like an all-encompassing love. I’m in love, or I’m out of love, or I hate that I love you so much, or even, like, I love alcohol — love is at the root of every song. There’s a song called “Sunkissed” on my next project that’s about how much I love my people, how much I love black people. It’s one of my favorite songs of mine. So I don’t think that I would be the artist that I am if I didn’t have such a strong belief in love. Whether I’m in it with someone else, or I’m just in it by myself, I’m just always in love.\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/XViB7pOBdSc'\n title='//www.youtube.com/embed/XViB7pOBdSc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What are some of the things in the Bay Area who made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>One of the main places is \u003ca href=\"https://youthradio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Radio\u003c/a> in downtown Oakland. That’s where I was first given the opportunity to make music, and shown that music was even a possibility for me. That’s also where I met \u003ca href=\"https://twitter.com/1oakALLDAY\" target=\"_blank\" rel=\"noopener noreferrer\">1-0.A.K.\u003c/a>, who ended up becoming my mentor, who’s now like a family member. And then Lake Merritt, in Oakland, just because I love it there, and it’s become a tribal place for me and my friends. We just go on Saturday, and drink cheap champagne and chill. We don’t get to do a lot — everybody’s so busy coming into their own greatness — so it’s always nice to settle down and come back to where we all started.\u003c/p>\n\u003cp>And then my church, \u003ca href=\"https://www.facebook.com/pilgrimrestrichmond/\" target=\"_blank\" rel=\"noopener noreferrer\">Pilgrim Rest Missionary Baptist\u003c/a>, in South Richmond. My great-uncle was the pastor since I was born, my auntie played the piano, my mom is a preacher, my granny has cooked for almost every occasion there. It’s not too big, it’s not small, everybody knows everybody. It’s a community, which I think a church should be. It’s the type of church where, if you’re sick or your family member’s sick, my granny will cook and take food to your house. It’s always been like that. For me, my church definitely helps not just to make me a spiritual person, but to give me the tools I need to remain strong and grounded in the music industry. A lot of people have problems with that.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/330554602″&visual=true&”color=e2798b&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/330554602″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A lot of people are stressed out and tense in the Bay Area right now. Are you a stressed-out person? How do you cope with it?\u003c/strong>\u003c/p>\n\u003cp>I’m always stressed. I’ve dealt with depression and anxiety. But I’ve been super blessed to live in a household where taking care of mental health is a very important thing. So, when I was younger, my mom would let me go to therapy, and I learned really good coping mechanisms there. A lot of people can recognize a stressful situation, but they don’t ever take themselves out of it. I’ve learned to remove myself when I need to. I’ve learned breathing techniques. I journal. I write a lot.\u003c/p>\n\u003cp>Music definitely helps me, and hopefully my music helps other people. I just want listeners to understand that I’ve been there too. Every song that I’ve written comes from a personal place, from experience. I write songs that I needed to hear when I was going through certain things. Like “Nothing to Talk About” — I wrote that about a breakup that I went through, and that’s one of my songs that’s doing the best, and I think it’s because they’re so many other young men and women who are going through that same exact thing. Which is perfect, it’s exactly what I wrote the song for.\u003c/p>\n\u003cfigure id=\"attachment_13689723\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13689723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/rayana-edited-2-800x1200.jpg\" alt=\"Rayana Jay.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/rayana-edited-2.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are your personal deal breakers in a romantic relationship?\u003c/strong>\u003c/p>\n\u003cp>I was just talking about this with my mom! I can’t stand people who try to be funny and fail. Like, if you can make me genuinely laugh I’ll probably love you forever, but the moment you start trying too hard to make me laugh, and all the jokes are misses… I can’t do it. If you can’t make me laugh, I can’t see the future. And then people who are mean — like, if you go out to eat and you’re mean to the staff, that really grinds my gears. But other than that, I’m a pretty open person. We all have flaws.\u003c/p>\n\u003cp>\u003cstrong>What red flags have you experienced that you’d advise young women to steer clear from?\u003c/strong>\u003c/p>\n\u003cp>The moment you see that you’re putting in more effort than your partner? That’s one of the biggest red flags. It feels like you’re in a relationship with yourself. That’s the worst.\u003c/p>\n\u003cp>\u003cstrong>Your songs thrive on intimacy and honesty, operating like a one-on-one conversation. Which living person would you most like to meet, and what would you talk with them about?\u003c/strong>\u003c/p>\n\u003cp>I’d want to meet a poet named \u003ca href=\"http://www.nayyirahwaheed.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nayyirah Waheed\u003c/a>, and I would talk to her about love and writing, because her poems are just ridiculously good — she makes you feel all these feelings in, like, two sentences. When I was going through my breakup with my last boyfriend, I was really, really sad, and my friend Bianca sent me this quote that said, “If someone does not want me it is not the end of the world. But if I do not want me, the world is nothing but endings.” I was like, \u003cem>who said that\u003c/em>?! That was what started this love I have for her. I don’t really know too much about her. She’s not too much older than me, so to see someone have such a firm grasp on the concept of love, and how she can write among this whole spectrum of it — I just want to know how her mind works.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311743126″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311743126″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You’ve had a prolific run in your twenties so far. Where do you see yourself in 10 years?\u003c/strong>\u003c/p>\n\u003cp>In 10 years I’ll be 33, and I want to be living in London and I want to have started a family. Of course still making music, playing shows, but I want to be almost iconic at that point — like a Kelis type artist, where I don’t really have to put out new music because everybody loves the old music so much.\u003c/p>\n\u003cp>I want to be successful on my own terms. I want to get my family a big house, or houses. I want to make sure my friends are good. I don’t necessarily want to be super rich, but I want to be successful in the way that I picture success.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think it looks like not having to be classified as women artists! I want us to have the same ranking as our male counterparts. I love the idea of all these women being put on these platforms, and getting so much recognition, but I just kind of hate the fact that we have to do it. We don’t have, like, the “Men to Watch.”\u003c/p>\n\u003cp>So for women artists, I just want us to be in the front, instead of having to be highlighted at certain times. I want our music to be the standard. I want our art to be the standard. I don’t want us to have another subcategory — I just want to be recognized as artists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>El Beh is a San Francisco-based theater artist, performer, musician and educator with a passion for ensemble-devised theater at the intersection of social justice, community and radical art.\u003c/p>\n\u003cp>Whether mastering all of the roles in \u003cem>Hamlet\u003c/em> in a daring “roulette” version of Shakespeare’s drama at Shotgun Players’ Ashby Stage in Berkeley, doing drag cabaret at the Rite Spot bar in San Francisco, or playing the cello and singing in Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em> at St. Ann’s Warehouse in Brooklyn, the 34-year-old North County San Diego native is consistently thrilling to watch.\u003c/p>\n\u003cp>Beh next appears on stage this fall at the Curran Theater in San Francisco, reprising her role in Mac’s \u003cem>24-Decade History of Popular Music. \u003c/em>Shotgun Players has also tapped her to perform in its upcoming production of Robert Wilson and Tom Waits’ \u003cem>The Black Rider.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13660641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-2-800x544.jpg\" alt=\"El Beh playing cello at Z Space. \" width=\"800\" height=\"544\">\u003cfigcaption class=\"wp-caption-text\">El Beh playing cello at Z Space. \u003ccite>(Photo: Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you most adore—and find most challenging—about being an artist in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I love what community we have as artists here. There’s a lot of support both from fellow artists and artistic institutions. I think that we’re at the forefront of national attempts to create a more diverse, inclusive and therefore more accurate representation of our country within our community of artistic practitioners and patrons. Don’t get me wrong, we have a long way to go. But it’s not everywhere in the country that a queer person of color would be prioritized to play Emily Webb in \u003cem>Our Town\u003c/em>.\u003c/p>\n\u003cp>On the other hand, I’ve had many a local friend struggle with eviction or have to move away from the area entirely in order to continue making art sustainably. I’m privileged to have rent control, but even that small increase every year means my working far beyond full-time hours in order to make ends meet. And I know very few artists for whom that story isn’t also true. Because of the economics, many theater companies are only able to function by making less risky artistic choices in their programming. Meanwhile, the experimental, less commercial companies have a harder time even existing. Thankfully here in San Francisco, we have strong, bold folks like Lisa Steindler at Z Space, and the teams at Yerba Buena Center for the Arts and Counterpulse who are committed to finding ways for devised, experimental performance art to continue being made and brought to the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13703653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg\" alt=\"El Beh.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your first big break in the Bay Area performing arts scene and how did you go about securing it?\u003c/strong>\u003c/p>\n\u003cp>The show that really shaped the path my career has taken thus far was \u003cem>The Threepenny Opera\u003c/em> at Shotgun Players in Berkeley. It was my first show at Shotgun and it introduced me to my dearest collaborators, which then led to pretty much every incredible collaboration I’ve had since then, as well as the honing of my aesthetic. I didn’t even get to audition in person, but sent in a recording of me singing some of the songs from the show. Shotgun artistic director Patrick Dooley had seen me in Berkeley Playhouse’s production of \u003cem>Seussical\u003c/em>, and had been so consistent and persistent about getting me in something at Shotgun that he was able to convince the director of \u003cem>The Threepenny Opera\u003c/em>, Susannah Martin, to cast me.\u003c/p>\n\u003cp>\u003cstrong>What comes first for you – being a musician or an actor? How do you go about integrating both pursuits into your life, seemingly so seamlessly?\u003c/strong>\u003c/p>\n\u003cp>It’s a little difficult for me to define myself as either a musician or an actor. I grew up playing music. But I would say that in recent years I’ve come back to being a musician because of the decision to become a professional actor. Integration was kind of a given to me at first, because the idea of the “actor-musician” became the zeitgeist around the time when I started performing professionally. So a lot of my early work came from my ability to handle both crafts. Nowadays, I’m fortunate enough to get to integrate both pursuits because of my preference for devised and physically-based work, which means we get to bring our full selves to the table.\u003c/p>\n\u003cp>\u003cstrong>In Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>, you’re on stage playing the cello, acting and singing for hours and hours on end. How many hours are you on stage and how do you go about psyching yourself up for and getting through such a long performance?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I really love “durational” performance and all that it exposes as we’re made to sit with things far longer than we’re typically comfortable with and everything starts to break down. After doing Mugwumpin’s \u003ci>Asomnia\u003c/i>, where we stayed awake and created new performances together every hour-and-a-half for 60 hours straight. Anything less than that feels like cake! I have it really easy in \u003ci>A 24-Decade\u003c/i> with my longest time on stage being six hours. Our music director, Matt Ray, brilliantly arranged all the music so most of the musicians get breaks even during the longer stretches as well. It doesn’t ever feel like I’m playing for very long in the grand scheme of things.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13660642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg\" alt=\"El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540.jpg 890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides my usual grounding, physical and vocal warm up rituals, there isn’t a lot of psyching up I need to do for this piece except to remain present.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I believe we are making progress. But I often desire far more radical measures to be taken to create equity. I think there needs to be a dominance of representation of oppressed peoples because our stories have for so long been silenced, forgotten and disregarded.\u003c/p>\n\u003cp>For me, it’s not just about gender parity, but rather, gender equity. This considers outside of the binary. It’s hard for me to restrict my thinking around gender lines without including its intersections with race, class, sexuality and disability. So what my ideal future looks like for all disenfranchised working artists is equity in representation in the arts with the ability to thrive while making art that matters to them and their particular communities. We need to give these individuals more space and agency so typically underrepresented voices have the opportunity to steer the ship.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We want to hear from you\u003c/a>! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>El Beh is a San Francisco-based theater artist, performer, musician and educator with a passion for ensemble-devised theater at the intersection of social justice, community and radical art.\u003c/p>\n\u003cp>Whether mastering all of the roles in \u003cem>Hamlet\u003c/em> in a daring “roulette” version of Shakespeare’s drama at Shotgun Players’ Ashby Stage in Berkeley, doing drag cabaret at the Rite Spot bar in San Francisco, or playing the cello and singing in Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em> at St. Ann’s Warehouse in Brooklyn, the 34-year-old North County San Diego native is consistently thrilling to watch.\u003c/p>\n\u003cp>Beh next appears on stage this fall at the Curran Theater in San Francisco, reprising her role in Mac’s \u003cem>24-Decade History of Popular Music. \u003c/em>Shotgun Players has also tapped her to perform in its upcoming production of Robert Wilson and Tom Waits’ \u003cem>The Black Rider.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13660641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-2-800x544.jpg\" alt=\"El Beh playing cello at Z Space. \" width=\"800\" height=\"544\">\u003cfigcaption class=\"wp-caption-text\">El Beh playing cello at Z Space. \u003ccite>(Photo: Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you most adore—and find most challenging—about being an artist in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I love what community we have as artists here. There’s a lot of support both from fellow artists and artistic institutions. I think that we’re at the forefront of national attempts to create a more diverse, inclusive and therefore more accurate representation of our country within our community of artistic practitioners and patrons. Don’t get me wrong, we have a long way to go. But it’s not everywhere in the country that a queer person of color would be prioritized to play Emily Webb in \u003cem>Our Town\u003c/em>.\u003c/p>\n\u003cp>On the other hand, I’ve had many a local friend struggle with eviction or have to move away from the area entirely in order to continue making art sustainably. I’m privileged to have rent control, but even that small increase every year means my working far beyond full-time hours in order to make ends meet. And I know very few artists for whom that story isn’t also true. Because of the economics, many theater companies are only able to function by making less risky artistic choices in their programming. Meanwhile, the experimental, less commercial companies have a harder time even existing. Thankfully here in San Francisco, we have strong, bold folks like Lisa Steindler at Z Space, and the teams at Yerba Buena Center for the Arts and Counterpulse who are committed to finding ways for devised, experimental performance art to continue being made and brought to the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13703653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13703653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg\" alt=\"El Beh.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/w2w-elbeh-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your first big break in the Bay Area performing arts scene and how did you go about securing it?\u003c/strong>\u003c/p>\n\u003cp>The show that really shaped the path my career has taken thus far was \u003cem>The Threepenny Opera\u003c/em> at Shotgun Players in Berkeley. It was my first show at Shotgun and it introduced me to my dearest collaborators, which then led to pretty much every incredible collaboration I’ve had since then, as well as the honing of my aesthetic. I didn’t even get to audition in person, but sent in a recording of me singing some of the songs from the show. Shotgun artistic director Patrick Dooley had seen me in Berkeley Playhouse’s production of \u003cem>Seussical\u003c/em>, and had been so consistent and persistent about getting me in something at Shotgun that he was able to convince the director of \u003cem>The Threepenny Opera\u003c/em>, Susannah Martin, to cast me.\u003c/p>\n\u003cp>\u003cstrong>What comes first for you – being a musician or an actor? How do you go about integrating both pursuits into your life, seemingly so seamlessly?\u003c/strong>\u003c/p>\n\u003cp>It’s a little difficult for me to define myself as either a musician or an actor. I grew up playing music. But I would say that in recent years I’ve come back to being a musician because of the decision to become a professional actor. Integration was kind of a given to me at first, because the idea of the “actor-musician” became the zeitgeist around the time when I started performing professionally. So a lot of my early work came from my ability to handle both crafts. Nowadays, I’m fortunate enough to get to integrate both pursuits because of my preference for devised and physically-based work, which means we get to bring our full selves to the table.\u003c/p>\n\u003cp>\u003cstrong>In Taylor Mac’s \u003cem>A 24-Decade History of Popular Music\u003c/em>, you’re on stage playing the cello, acting and singing for hours and hours on end. How many hours are you on stage and how do you go about psyching yourself up for and getting through such a long performance?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I really love “durational” performance and all that it exposes as we’re made to sit with things far longer than we’re typically comfortable with and everything starts to break down. After doing Mugwumpin’s \u003ci>Asomnia\u003c/i>, where we stayed awake and created new performances together every hour-and-a-half for 60 hours straight. Anything less than that feels like cake! I have it really easy in \u003ci>A 24-Decade\u003c/i> with my longest time on stage being six hours. Our music director, Matt Ray, brilliantly arranged all the music so most of the musicians get breaks even during the longer stretches as well. It doesn’t ever feel like I’m playing for very long in the grand scheme of things.\u003c/p>\n\u003cdiv>\u003c/div>\n\u003cfigure id=\"attachment_13660642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg\" alt=\"El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/El-Beh-3-e1500072732540.jpg 890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Beh as Hamlet in Shotgun Players ‘roulette’ version of Shakespeare work. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Besides my usual grounding, physical and vocal warm up rituals, there isn’t a lot of psyching up I need to do for this piece except to remain present.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I believe we are making progress. But I often desire far more radical measures to be taken to create equity. I think there needs to be a dominance of representation of oppressed peoples because our stories have for so long been silenced, forgotten and disregarded.\u003c/p>\n\u003cp>For me, it’s not just about gender parity, but rather, gender equity. This considers outside of the binary. It’s hard for me to restrict my thinking around gender lines without including its intersections with race, class, sexuality and disability. So what my ideal future looks like for all disenfranchised working artists is equity in representation in the arts with the ability to thrive while making art that matters to them and their particular communities. We need to give these individuals more space and agency so typically underrepresented voices have the opportunity to steer the ship.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We want to hear from you\u003c/a>! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera",
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"content": "\u003cp>Composer and electronica DJ \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mason Bates\u003c/a> is listening intently to the sound of a clicking computer key through speakers rigged up to a laptop in his Burlingame music studio.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/07/20170724JobsOperaVeltman.mp3\" image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg\" title=\"Silicon Valley Composer Transforms Steve Jobs' Life Story Into Opera\" program=\"The California Report\"]\u003c/p>\n\u003cp>Bates admits the key clicks don’t sound like much on their own. But the opening music in his new opera, \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">“The (R)evolution of Steve Jobs”\u003c/a>, morphs out of those simple sounds.\u003c/p>\n\u003cp>“When you take them together and then turn them into a rhythmic device, they create a bit of a tapestry,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11577470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577470\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg\" alt=\"Composer Mason Bates in his home music studio in Burlingame.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Mason Bates in his home music studio in Burlingame. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates often uses digital technology in his orchestral works. He’s written major pieces for the likes of the San Francisco Symphony and the Kennedy Center in Washington, D.C., among other top-tier arts institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this is his first full-length opera. And it matters to the 40-year-old composer that the pops, beeps and whizzes in his score come from genuine Apple gear. The key clicks are those of the Mac Plus computer, released in 1986.\u003c/p>\n\u003cp>“While you might not be able to pick out exactly that’s a spinning hard drive of an Apple I, a Power Mac or Mac Plus key click, I think the accumulation of those sounds does lend an authenticity to the sound world,” Bates says.\u003c/p>\n\u003cfigure id=\"attachment_43874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-43874\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/Jobs_2003_rev3.jpg\" alt=\"Steve Jobs in 2003. Creative Commons.\" width=\"1920\" height=\"1755\">\u003cfigcaption class=\"wp-caption-text\">Steve Jobs in 2003. Creative Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>But it takes more than an authentic sound world to make sense of Steve Jobs’ epic life story on stage; it’s not for nothing that Walter Isaacson’s well-known 2011 biography of Jobs (which Bates cites as a major source of inspiration for his opera) runs to more than 650 pages.\u003c/p>\n\u003cp>After all, the man ran three major companies — Apple, NeXT and Pixar — where he oversaw the release of many wildly successful products and movies like the iPhone and \u003ci>Toy Story\u003c/i>.\u003c/p>\n\u003cp>He also had a complicated personal life. Jobs was adopted as a baby; he refused to publicly acknowledge his first child, Lisa Brennan-Jobs, for years; and he died young in 2011 of cancer at the age of 56.\u003c/p>\n\u003cfigure id=\"attachment_11577472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577472\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg\" alt=\"Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was such a complex individual, I cannot even imagine how you’d capture Steve’s life in an opera,” says Andy Cunningham, who worked closely with Jobs as a publicist and witnessed the ups and down of his career — and erratic temperament — firsthand.\u003c/p>\n\u003cp>Cunningham says Jobs hired and fired her several times, and once demanded calla lilies for his hotel room at midnight. “Steve was a very emotional person, and he was driven largely by his emotions,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11572896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11572896\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg\" alt=\"Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — first hand.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — firsthand. \u003ccite>(Photo: Richard Michel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other individuals and organizations have also questioned the idea of transforming Jobs’ story into opera.\u003c/p>\n\u003cp>For instance, the San Francisco Opera turned down the opportunity to host the world premiere when Bates and his early-stage collaborator on the project, UC Berkeley arts presenter Cal Performances, approached SF Opera’s leadership in 2013. (Since the project was workshopped at the San Francisco Conservatory of Music in 2015 and 2016, SF Opera has come around, and will be producing the work in its 2019-2020 season.)\u003c/p>\n\u003cp>But Bates revels in the complexity and emotionality of his subject. “His actual life is the stuff of opera,” Bates says.\u003c/p>\n\u003cp>The opera careens backward and forward between episodes in Jobs’ life. In one scene he’s launching the iPhone at MacWorld 2007. Then it’s 1974 and he’s dropping acid in an orchard with his girlfriend.\u003c/p>\n\u003cp>The work also weaves together intricate theme tunes for each individual character. There’s jazzy saxophone music for Steve Wozniak, Jobs’ partner in the early years of Apple. Gongs and prayer bowls illustrate Jobs’ spiritual adviser, Kobun Chino Otogawa.\u003c/p>\n\u003cfigure id=\"attachment_11577471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577471\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg\" alt=\"Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1920x1088.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appropriately, Bates has created a sound world for the opera’s protagonist that features quicksilver electronic sounds and acoustic guitar — an instrument that Jobs adored, especially as played by Joan Baez and Bob Dylan.\u003c/p>\n\u003cp>And while operatic heroes are usually played by tenors, this one’s a baritone — a darker, more nuanced voice. American singer Edward Parks plays the character of Jobs in the world premiere production, opening in Santa Fe, New Mexico, this weekend. Like a true baritone, Parks isn’t afraid to embrace Jobs’ dark side.\u003c/p>\n\u003cp>“I’m mostly drawn to his flaws,” Parks says. “The arc of his life is grand. There’s a lot of betrayal, there’s a lot of anger towards people, and there’s a lot of love as well.”\u003c/p>\n\u003cp>All ingredients ripe for opera.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\"> “The (R)evolution of Steve Jobs”\u003c/a> opens this weekend at Santa Fe Opera in Santa Fe, New Mexico. There will be a California production at San Francisco Opera during the company’s 2019-2020 season.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bates admits the key clicks don’t sound like much on their own. But the opening music in his new opera, \u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\" target=\"_blank\" rel=\"noopener noreferrer\">“The (R)evolution of Steve Jobs”\u003c/a>, morphs out of those simple sounds.\u003c/p>\n\u003cp>“When you take them together and then turn them into a rhythmic device, they create a bit of a tapestry,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11577470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577470\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg\" alt=\"Composer Mason Bates in his home music studio in Burlingame.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/mason-bates-in-studio-e1500565320462-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Mason Bates in his home music studio in Burlingame. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates often uses digital technology in his orchestral works. He’s written major pieces for the likes of the San Francisco Symphony and the Kennedy Center in Washington, D.C., among other top-tier arts institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this is his first full-length opera. And it matters to the 40-year-old composer that the pops, beeps and whizzes in his score come from genuine Apple gear. The key clicks are those of the Mac Plus computer, released in 1986.\u003c/p>\n\u003cp>“While you might not be able to pick out exactly that’s a spinning hard drive of an Apple I, a Power Mac or Mac Plus key click, I think the accumulation of those sounds does lend an authenticity to the sound world,” Bates says.\u003c/p>\n\u003cfigure id=\"attachment_43874\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-43874\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2011/10/Jobs_2003_rev3.jpg\" alt=\"Steve Jobs in 2003. Creative Commons.\" width=\"1920\" height=\"1755\">\u003cfigcaption class=\"wp-caption-text\">Steve Jobs in 2003. Creative Commons.\u003c/figcaption>\u003c/figure>\n\u003cp>But it takes more than an authentic sound world to make sense of Steve Jobs’ epic life story on stage; it’s not for nothing that Walter Isaacson’s well-known 2011 biography of Jobs (which Bates cites as a major source of inspiration for his opera) runs to more than 650 pages.\u003c/p>\n\u003cp>After all, the man ran three major companies — Apple, NeXT and Pixar — where he oversaw the release of many wildly successful products and movies like the iPhone and \u003ci>Toy Story\u003c/i>.\u003c/p>\n\u003cp>He also had a complicated personal life. Jobs was adopted as a baby; he refused to publicly acknowledge his first child, Lisa Brennan-Jobs, for years; and he died young in 2011 of cancer at the age of 56.\u003c/p>\n\u003cfigure id=\"attachment_11577472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577472\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg\" alt=\"Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1920x1086.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/ed-parks-as-steve-jobs-e1500565671452-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was such a complex individual, I cannot even imagine how you’d capture Steve’s life in an opera,” says Andy Cunningham, who worked closely with Jobs as a publicist and witnessed the ups and down of his career — and erratic temperament — firsthand.\u003c/p>\n\u003cp>Cunningham says Jobs hired and fired her several times, and once demanded calla lilies for his hotel room at midnight. “Steve was a very emotional person, and he was driven largely by his emotions,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11572896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11572896\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg\" alt=\"Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — first hand.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/Andy-Cunningham-worked-as-a-publicist-for-Steve-Jobs-in-his-early-years-at-Apple-NeXT-and-Pixar-photo-credit-richard-michel-e1500322382895-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andy Cunningham worked as a publicist for Steve Jobs in his early years at Apple, NeXT and Pixar. She witnessed the ups and down of his career — and erratic temperament — firsthand. \u003ccite>(Photo: Richard Michel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other individuals and organizations have also questioned the idea of transforming Jobs’ story into opera.\u003c/p>\n\u003cp>For instance, the San Francisco Opera turned down the opportunity to host the world premiere when Bates and his early-stage collaborator on the project, UC Berkeley arts presenter Cal Performances, approached SF Opera’s leadership in 2013. (Since the project was workshopped at the San Francisco Conservatory of Music in 2015 and 2016, SF Opera has come around, and will be producing the work in its 2019-2020 season.)\u003c/p>\n\u003cp>But Bates revels in the complexity and emotionality of his subject. “His actual life is the stuff of opera,” Bates says.\u003c/p>\n\u003cp>The opera careens backward and forward between episodes in Jobs’ life. In one scene he’s launching the iPhone at MacWorld 2007. Then it’s 1974 and he’s dropping acid in an orchard with his girlfriend.\u003c/p>\n\u003cp>The work also weaves together intricate theme tunes for each individual character. There’s jazzy saxophone music for Steve Wozniak, Jobs’ partner in the early years of Apple. Gongs and prayer bowls illustrate Jobs’ spiritual adviser, Kobun Chino Otogawa.\u003c/p>\n\u003cfigure id=\"attachment_11577471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11577471\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg\" alt=\"Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1920x1088.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/07/steve-and-woz-e1500565440961-520x295.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garrett Sorenson as Steve Wozniak and Edward Parks as Steve Jobs in ‘The (R)evolution of Steve Jobs’. \u003ccite>(Photo: Ken Howard Courtesy Santa Fe Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appropriately, Bates has created a sound world for the opera’s protagonist that features quicksilver electronic sounds and acoustic guitar — an instrument that Jobs adored, especially as played by Joan Baez and Bob Dylan.\u003c/p>\n\u003cp>And while operatic heroes are usually played by tenors, this one’s a baritone — a darker, more nuanced voice. American singer Edward Parks plays the character of Jobs in the world premiere production, opening in Santa Fe, New Mexico, this weekend. Like a true baritone, Parks isn’t afraid to embrace Jobs’ dark side.\u003c/p>\n\u003cp>“I’m mostly drawn to his flaws,” Parks says. “The arc of his life is grand. There’s a lot of betrayal, there’s a lot of anger towards people, and there’s a lot of love as well.”\u003c/p>\n\u003cp>All ingredients ripe for opera.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs\"> “The (R)evolution of Steve Jobs”\u003c/a> opens this weekend at Santa Fe Opera in Santa Fe, New Mexico. There will be a California production at San Francisco Opera during the company’s 2019-2020 season.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Chester Bennington, one of the lead singers for the band Linkin Park and the former singer for Stone Temple Pilots, has died. His death was confirmed to NPR Thursday afternoon by the Los Angeles County Coroner’s office, which said that his body was discovered at a house within the 2800 block of Palos Verdes Estates in Los Angeles, and that investigators are currently on the scene. The death is “being looked at as a possible suicide at this time,” according to Brian Elias of the L.A. County Coroner’s office. Bennington was 41 years old.\u003c/p>\n\u003cp>Earlier this month, Linkin Park finished a European and U.K. leg of an international tour in support of its current album, \u003cem>One More Light\u003c/em>, with guest artists Machine Gun Kelly, One OK Rock and Snoop Dogg; the band’s next scheduled tour date is for July 27 in Mansfield, Mass.\u003c/p>\n\u003cp>Although the rap-rock band never gained much critical acclaim, Linkin Park was a popular staple in the early 2000s. Its debut album in 2000, \u003cem>Hybrid Theory\u003c/em>, became the best-selling rock album of that decade, and the group went on to sell more than 50 million units. At the height of its popularity, Linkin Park toured relentlessly — the band reportedly tallied \u003ca href=\"http://grantland.com/features/the-winners-history-rock-roll-part-6-linkin-park/\" target=\"_blank\" rel=\"noopener\">342\u003c/a> live shows just in the year 2001. Overall, Linkin Park scored \u003ca href=\"http://www.billboard.com/artist/307438/linkin-park/chart?sort=position&f=379\" target=\"_blank\" rel=\"noopener\">six\u003c/a> Top 20 hits on the Billboard Hot 100 chart. But Linkin Park got credibility for some collaborations with hip-hop artists, including \u003cem>Collision Course\u003c/em>, a 2004 EP the band recorded with Jay-Z.\u003c/p>\n\u003cp>In addition to his Linkin Park work, Bennington served as the lead singer of Stone Temple Pilots between 2013 and 2015.\u003c/p>\n\u003cp>Today is also the birth date of one of Bennington’s close friends, the late Soundgarden and Audioslave frontman Chris Cornell, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/18/528899410/chris-cornell-powerhouse-voice-of-soundgarden-and-audioslave-dies-at-52\" target=\"_blank\" rel=\"noopener\">committed suicide\u003c/a> in May. Cornell and Bennington were \u003ca href=\"http://www.stereogum.com/1941913/chris-cornell-remembered-by-his-friend-chester-bennington/news/\" target=\"_blank\" rel=\"noopener\">close friends\u003c/a>, and the Linkin Park singer \u003ca href=\"http://www.billboard.com/articles/columns/rock/7809573/chris-cornell-funeral-chester-bennington-tom-morello-josh-brolin\" target=\"_blank\" rel=\"noopener\">sang\u003c/a> at Cornell’s memorial service in May. \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=Linkin+Park+Singer+Chester+Bennington+Dead+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chester Bennington, one of the lead singers for the band Linkin Park and the former singer for Stone Temple Pilots, has died. His death was confirmed to NPR Thursday afternoon by the Los Angeles County Coroner’s office, which said that his body was discovered at a house within the 2800 block of Palos Verdes Estates in Los Angeles, and that investigators are currently on the scene. The death is “being looked at as a possible suicide at this time,” according to Brian Elias of the L.A. County Coroner’s office. Bennington was 41 years old.\u003c/p>\n\u003cp>Earlier this month, Linkin Park finished a European and U.K. leg of an international tour in support of its current album, \u003cem>One More Light\u003c/em>, with guest artists Machine Gun Kelly, One OK Rock and Snoop Dogg; the band’s next scheduled tour date is for July 27 in Mansfield, Mass.\u003c/p>\n\u003cp>Although the rap-rock band never gained much critical acclaim, Linkin Park was a popular staple in the early 2000s. Its debut album in 2000, \u003cem>Hybrid Theory\u003c/em>, became the best-selling rock album of that decade, and the group went on to sell more than 50 million units. At the height of its popularity, Linkin Park toured relentlessly — the band reportedly tallied \u003ca href=\"http://grantland.com/features/the-winners-history-rock-roll-part-6-linkin-park/\" target=\"_blank\" rel=\"noopener\">342\u003c/a> live shows just in the year 2001. Overall, Linkin Park scored \u003ca href=\"http://www.billboard.com/artist/307438/linkin-park/chart?sort=position&f=379\" target=\"_blank\" rel=\"noopener\">six\u003c/a> Top 20 hits on the Billboard Hot 100 chart. But Linkin Park got credibility for some collaborations with hip-hop artists, including \u003cem>Collision Course\u003c/em>, a 2004 EP the band recorded with Jay-Z.\u003c/p>\n\u003cp>In addition to his Linkin Park work, Bennington served as the lead singer of Stone Temple Pilots between 2013 and 2015.\u003c/p>\n\u003cp>Today is also the birth date of one of Bennington’s close friends, the late Soundgarden and Audioslave frontman Chris Cornell, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/18/528899410/chris-cornell-powerhouse-voice-of-soundgarden-and-audioslave-dies-at-52\" target=\"_blank\" rel=\"noopener\">committed suicide\u003c/a> in May. Cornell and Bennington were \u003ca href=\"http://www.stereogum.com/1941913/chris-cornell-remembered-by-his-friend-chester-bennington/news/\" target=\"_blank\" rel=\"noopener\">close friends\u003c/a>, and the Linkin Park singer \u003ca href=\"http://www.billboard.com/articles/columns/rock/7809573/chris-cornell-funeral-chester-bennington-tom-morello-josh-brolin\" target=\"_blank\" rel=\"noopener\">sang\u003c/a> at Cornell’s memorial service in May. \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=Linkin+Park+Singer+Chester+Bennington+Dead+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "women-to-watch-black-salt-collective",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Instead of describing what \u003ca href=\"http://blacksaltcollective.squarespace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Salt Collective does\u003c/a>, it might be easier to describe what they don’t do. Based on my preliminary research, they are not synchronized swimmers, though I wouldn’t put it past the multi-talented artists and members of the collective — \u003ca href=\"http://sarahbiscarradilley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Biscarra-Dilley\u003c/a>, \u003ca href=\"http://www.gracerosarioperkins.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Rosario Perkins\u003c/a>, \u003ca href=\"http://www.jeepneysjeepneys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Luisa Petrisko\u003c/a> and \u003ca href=\"http://www.adeeroberson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adee Roberson\u003c/a> — to quickly learn and perform a fabulous Esther Williams-esque routine.\u003c/p>\n\u003cp>Black Salt Collective’s collaborative work spans genres — from video pieces to multimedia performances to \u003ca href=\"https://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener noreferrer\">curating sprawling exhibitions\u003c/a>. They also produce art individually, or in twos or threes. This flexibility is an inherent part of their process, which is rooted in the respectful exchange of cultural knowledge through art.\u003c/p>\n\u003cp>During their 2016 stint as \u003ca href=\"https://youtu.be/lfGeaC_wOKM\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook artists in residence\u003c/a>, Biscarra-Dilley perfectly described the non-linear possibilities inherent in Black Salt Collective’s practice: “Part of what we’re looking at is giving ourselves the space as artists, and as women of color, to be able to have a more expansive identity than what is allowed for us in the context of culture as it is right now.”\u003c/p>\n\u003cfigure id=\"attachment_13696676\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13696676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h.jpg\" alt=\"Opening of 'Visions Into Infinite Archives,' at SOMArts, curated by Black Salt Collective, January 2016. \" width=\"1600\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-520x346.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Opening of ‘Visions Into Infinite Archives,’ at SOMArts, curated by Black Salt Collective, January 2016. \u003ccite>(Courtesy of SOMArts; photo by Dan Fenstermacher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did Black Salt Collective come into being?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Grace:\u003c/strong> We started in 2012. Adee, Fanciulla Gentile (who makes music under \u003ca href=\"https://soundcloud.com/fanciullagentile\" target=\"_blank\" rel=\"noopener noreferrer\">The Creatrix\u003c/a>), and I were living in a house together and were talking about creating work as women of color, looking for platforms of support, feeling alienated at times in the work we were making. This all happened one night at the dinner table. By the end of the night we came to realize we had to create just that for ourselves and others — coming up with a name, a mission statement, creating a blog, and taking photos of us together. Within a few months, Sarah and Anna Luisa were asked to join. We grew into a dynamic group who traveled together, shot video, performed, and have now expanded into curatorial projects and more.\u003c/p>\n\u003cp>https://youtu.be/GfoIS2e-aCI\u003c/p>\n\u003cp>\u003cstrong>What can you do as a collective that you wouldn’t be able to accomplish individually?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> The first thing that comes to my mind is just the breadth of skills reflected in the collective– everyone brings so much knowledge! It enables possibilities that are kind of kaleidoscopic, in conversation across our respective practices and in collaboration.\u003c/p>\n\u003cp>\u003cb>Anna Luisa:\u003c/b> We are able to navigate situations in the art world with more strength because we are drawing from a shared pool of knowledge, power, and resources. This shared labor — creative and emotional — is actually very healing.\u003c/p>\n\u003cp>\u003cb>Adee:\u003c/b> So many things! But what immediately comes to mind is having so much support. In the art world there’s tendency for things to be really centered around ego and the individual. To me, so much of that is tied to capitalism and patriarchy, and I don’t want my art practice to reflect that. I think when you create collectively it allows for expansiveness and depth that sometimes is hard to reach in isolation.\u003c/p>\n\u003cfigure id=\"attachment_13690087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Black-Salt-Collective-2-e1500497642694.jpg\" alt=\"Black Salt Collective: Sarah Biscarra-Dilley, Adee Roberson, Grace Rosario Perkins and Anna Luisa Petrisko\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective (L-R): Sarah Biscarra-Dilley, Adee Roberson, Grace Rosario Perkins and Anna Luisa Petrisko \u003ccite>(Photo by Texas Isaiah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s your approach to group decision-making? Does everyone have to come to a consensus, do you divvy up responsibilities, put it a vote?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> Our decision-making is mostly based on intuition, supplemented with a lot of check-ins. Consensus has never been a struggle for us, we somehow always end up on the same page.\u003c/p>\n\u003cp>\u003cstrong>What are you currently working on or have you been involved with recently that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> We are working on a book in collaboration with \u003ca href=\"http://wolfmanhomerepair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">E.M. Wolfman\u003c/a>. It will feature art and writing by the collective as well as many of our friends/elders, including \u003ca href=\"https://www.bayimproviser.com/artist/46/india-cooke\" target=\"_blank\" rel=\"noopener noreferrer\">India Cooke\u003c/a>, \u003ca href=\"http://deadrezkids.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Dennison\u003c/a>, \u003ca href=\"http://wuraogunji.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Wura-Natasha Ogunji\u003c/a>, \u003ca href=\"http://www.westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> and many others.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/74916418?color=ffffff&portrait=0\" width=\"800\" height=\"533\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Do you have any women you watch?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sarah:\u003c/strong> Well, \u003ca href=\"http://www.ociciwan.ca/\" target=\"_blank\" rel=\"noopener noreferrer\">Ociciwan Collective\u003c/a> (Canada) and \u003ca href=\"http://www.joitarcand.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Joi Arcand\u003c/a> (Ottawa) are new art crushes for me, but I’m always psyched to see and experience new work by \u003ca href=\"https://www.rachaelsterner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachael Sterner\u003c/a> (San Francisco Bay Area) and both members of \u003ca href=\"https://earthbound510.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Earthbound\u003c/a> — \u003ca href=\"http://jadearianafair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jade Ariana Fair\u003c/a> and Angel Castellon (Oakland).\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> I love the visual and sonic palettes of \u003ca href=\"https://soundcloud.com/wizardapprentice\" target=\"_blank\" rel=\"noopener noreferrer\">Wizard Apprentice\u003c/a>. And I am always excited by the work of SF-based musician/DJ and founding member of Black Salt Collective, \u003ca href=\"https://soundcloud.com/fanciullagentile\" target=\"_blank\" rel=\"noopener noreferrer\">The Creatrix\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Grace:\u003c/strong> \u003ca href=\"https://www.creativityexplored.org/artists/christina-marie-fong\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Marie Fong\u003c/a> from Creativity Explored; we worked together a few years ago. I check in on her and the growth of her work as much as I can. \u003ca href=\"https://soundcloud.com/shawnashawnte\" target=\"_blank\" rel=\"noopener noreferrer\">Shawna Shawnté\u003c/a>, a DJ and artist who is doing a lot of organizing right now for the \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Universe is Lit: Bay Area Black and Brown Punk Fest\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13690086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Black-Salt-Collective-1-e1500497664932.jpg\" alt=\"Black Salt Collective (L-R): Adee Roberson, Sarah Biscarra-Dilley, Anna Luisa Petrisko, Grace Rosario Perkins in front of collective members' artwork.\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective (L-R): Adee Roberson, Sarah Biscarra-Dilley, Anna Luisa Petrisko, Grace Rosario Perkins in front of collective members’ artwork. \u003ccite>(Photo by Texas Isaiah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Sarah:\u003c/strong> Expansive, possible and grounded in responsibility to ourselves, each other, and this place.\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> Opportunities, funding and attention. And care for each other and for the land.\u003c/p>\n\u003cp>\u003cstrong>Grace:\u003c/strong> An environment of longevity, support, visibility and resources — be that exhibition opportunities, funding or mentorship.\u003c/p>\n\u003cp>\u003cstrong>Adee:\u003c/strong> Abundance! And space and resources to have a sustainable practice that can grow and be nurtured over time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a> series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Instead of describing what \u003ca href=\"http://blacksaltcollective.squarespace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Salt Collective does\u003c/a>, it might be easier to describe what they don’t do. Based on my preliminary research, they are not synchronized swimmers, though I wouldn’t put it past the multi-talented artists and members of the collective — \u003ca href=\"http://sarahbiscarradilley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Biscarra-Dilley\u003c/a>, \u003ca href=\"http://www.gracerosarioperkins.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grace Rosario Perkins\u003c/a>, \u003ca href=\"http://www.jeepneysjeepneys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anna Luisa Petrisko\u003c/a> and \u003ca href=\"http://www.adeeroberson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adee Roberson\u003c/a> — to quickly learn and perform a fabulous Esther Williams-esque routine.\u003c/p>\n\u003cp>Black Salt Collective’s collaborative work spans genres — from video pieces to multimedia performances to \u003ca href=\"https://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener noreferrer\">curating sprawling exhibitions\u003c/a>. They also produce art individually, or in twos or threes. This flexibility is an inherent part of their process, which is rooted in the respectful exchange of cultural knowledge through art.\u003c/p>\n\u003cp>During their 2016 stint as \u003ca href=\"https://youtu.be/lfGeaC_wOKM\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook artists in residence\u003c/a>, Biscarra-Dilley perfectly described the non-linear possibilities inherent in Black Salt Collective’s practice: “Part of what we’re looking at is giving ourselves the space as artists, and as women of color, to be able to have a more expansive identity than what is allowed for us in the context of culture as it is right now.”\u003c/p>\n\u003cfigure id=\"attachment_13696676\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13696676\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h.jpg\" alt=\"Opening of 'Visions Into Infinite Archives,' at SOMArts, curated by Black Salt Collective, January 2016. \" width=\"1600\" height=\"1066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/23861653004_ec9bf51c08_h-520x346.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Opening of ‘Visions Into Infinite Archives,’ at SOMArts, curated by Black Salt Collective, January 2016. \u003ccite>(Courtesy of SOMArts; photo by Dan Fenstermacher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did Black Salt Collective come into being?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Grace:\u003c/strong> We started in 2012. Adee, Fanciulla Gentile (who makes music under \u003ca href=\"https://soundcloud.com/fanciullagentile\" target=\"_blank\" rel=\"noopener noreferrer\">The Creatrix\u003c/a>), and I were living in a house together and were talking about creating work as women of color, looking for platforms of support, feeling alienated at times in the work we were making. This all happened one night at the dinner table. By the end of the night we came to realize we had to create just that for ourselves and others — coming up with a name, a mission statement, creating a blog, and taking photos of us together. Within a few months, Sarah and Anna Luisa were asked to join. We grew into a dynamic group who traveled together, shot video, performed, and have now expanded into curatorial projects and more.\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/GfoIS2e-aCI'\n title='//www.youtube.com/embed/GfoIS2e-aCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What can you do as a collective that you wouldn’t be able to accomplish individually?\u003c/strong>\u003c/p>\n\u003cp>\u003cb>Sarah:\u003c/b> The first thing that comes to my mind is just the breadth of skills reflected in the collective– everyone brings so much knowledge! It enables possibilities that are kind of kaleidoscopic, in conversation across our respective practices and in collaboration.\u003c/p>\n\u003cp>\u003cb>Anna Luisa:\u003c/b> We are able to navigate situations in the art world with more strength because we are drawing from a shared pool of knowledge, power, and resources. This shared labor — creative and emotional — is actually very healing.\u003c/p>\n\u003cp>\u003cb>Adee:\u003c/b> So many things! But what immediately comes to mind is having so much support. In the art world there’s tendency for things to be really centered around ego and the individual. To me, so much of that is tied to capitalism and patriarchy, and I don’t want my art practice to reflect that. I think when you create collectively it allows for expansiveness and depth that sometimes is hard to reach in isolation.\u003c/p>\n\u003cfigure id=\"attachment_13690087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Black-Salt-Collective-2-e1500497642694.jpg\" alt=\"Black Salt Collective: Sarah Biscarra-Dilley, Adee Roberson, Grace Rosario Perkins and Anna Luisa Petrisko\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective (L-R): Sarah Biscarra-Dilley, Adee Roberson, Grace Rosario Perkins and Anna Luisa Petrisko \u003ccite>(Photo by Texas Isaiah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s your approach to group decision-making? Does everyone have to come to a consensus, do you divvy up responsibilities, put it a vote?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> Our decision-making is mostly based on intuition, supplemented with a lot of check-ins. Consensus has never been a struggle for us, we somehow always end up on the same page.\u003c/p>\n\u003cp>\u003cstrong>What are you currently working on or have you been involved with recently that you’re excited about?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> We are working on a book in collaboration with \u003ca href=\"http://wolfmanhomerepair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">E.M. Wolfman\u003c/a>. It will feature art and writing by the collective as well as many of our friends/elders, including \u003ca href=\"https://www.bayimproviser.com/artist/46/india-cooke\" target=\"_blank\" rel=\"noopener noreferrer\">India Cooke\u003c/a>, \u003ca href=\"http://deadrezkids.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Dennison\u003c/a>, \u003ca href=\"http://wuraogunji.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Wura-Natasha Ogunji\u003c/a>, \u003ca href=\"http://www.westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> and many others.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/74916418?color=ffffff&portrait=0\" width=\"800\" height=\"533\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Do you have any women you watch?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sarah:\u003c/strong> Well, \u003ca href=\"http://www.ociciwan.ca/\" target=\"_blank\" rel=\"noopener noreferrer\">Ociciwan Collective\u003c/a> (Canada) and \u003ca href=\"http://www.joitarcand.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Joi Arcand\u003c/a> (Ottawa) are new art crushes for me, but I’m always psyched to see and experience new work by \u003ca href=\"https://www.rachaelsterner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachael Sterner\u003c/a> (San Francisco Bay Area) and both members of \u003ca href=\"https://earthbound510.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Earthbound\u003c/a> — \u003ca href=\"http://jadearianafair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jade Ariana Fair\u003c/a> and Angel Castellon (Oakland).\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> I love the visual and sonic palettes of \u003ca href=\"https://soundcloud.com/wizardapprentice\" target=\"_blank\" rel=\"noopener noreferrer\">Wizard Apprentice\u003c/a>. And I am always excited by the work of SF-based musician/DJ and founding member of Black Salt Collective, \u003ca href=\"https://soundcloud.com/fanciullagentile\" target=\"_blank\" rel=\"noopener noreferrer\">The Creatrix\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Grace:\u003c/strong> \u003ca href=\"https://www.creativityexplored.org/artists/christina-marie-fong\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Marie Fong\u003c/a> from Creativity Explored; we worked together a few years ago. I check in on her and the growth of her work as much as I can. \u003ca href=\"https://soundcloud.com/shawnashawnte\" target=\"_blank\" rel=\"noopener noreferrer\">Shawna Shawnté\u003c/a>, a DJ and artist who is doing a lot of organizing right now for the \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Universe is Lit: Bay Area Black and Brown Punk Fest\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13690086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13690086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Black-Salt-Collective-1-e1500497664932.jpg\" alt=\"Black Salt Collective (L-R): Adee Roberson, Sarah Biscarra-Dilley, Anna Luisa Petrisko, Grace Rosario Perkins in front of collective members' artwork.\" width=\"2000\" height=\"1333\">\u003cfigcaption class=\"wp-caption-text\">Black Salt Collective (L-R): Adee Roberson, Sarah Biscarra-Dilley, Anna Luisa Petrisko, Grace Rosario Perkins in front of collective members’ artwork. \u003ccite>(Photo by Texas Isaiah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does your ideal future look like for women artists in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Sarah:\u003c/strong> Expansive, possible and grounded in responsibility to ourselves, each other, and this place.\u003c/p>\n\u003cp>\u003cstrong>Anna Luisa:\u003c/strong> Opportunities, funding and attention. And care for each other and for the land.\u003c/p>\n\u003cp>\u003cstrong>Grace:\u003c/strong> An environment of longevity, support, visibility and resources — be that exhibition opportunities, funding or mentorship.\u003c/p>\n\u003cp>\u003cstrong>Adee:\u003c/strong> Abundance! And space and resources to have a sustainable practice that can grow and be nurtured over time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a> series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host this week is A-lan Holt, a playwright and movie maker (\u003cem>\u003ca href=\"http://www.inamoratafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Inamorata\u003c/a>–\u003c/em> with a screening August 4th at the Blackstar Film Fest), and the Associate Director of \u003ca href=\"https://diversityarts.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford’s Institute for Diversity in the Arts\u003c/a> (Instagram @a_lanmoon). Now here’s our picks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LDtUS0k5r9o\u003c/p>\n\u003cp>\u003cstrong>July 20 – Aug 26\u003c/strong>: “Abracadabrakaafrika” (the video above) by Oakland singer, community organizer and video maker Zakiya Harris is just one of the works on display at \u003ca href=\"http://www.somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a> in San Francisco as part of the new exhibit, \u003cem>The Black Woman Is God: Divine Revolution.\u003c/em> Co-curated by Karen Seneferu and Melora Green, the exhibition features works by 60 black women artists in a range of styles and media. The show touches on how African religions (Yoruba and others) feature female deities. But it’s also about how artists, like gods, are creators. “What does it mean for a black woman to create,” Seneferu told me, with Green finishing her thought. “To add to that, to have the audacity to create.” Green said. “When you look around this room, you’ll find a lot of women who’ve been creating in hiding. Most of these artists have experienced someone telling them that it (their work) doesn’t look good or doesn’t fit. And in this room, we’re saying your work is dope as hell.” \u003c/p>\n\u003cp>SOMarts will also host a \u003ca href=\"http://www.somarts.org/theblackwomanisgodwikipedia/\" target=\"_blank\" rel=\"noopener\">Wikipedia edit-a-thon\u003c/a> on Saturday, July 22, inviting people to help fill in the gaps in art history minimizing black women artists. Admission is always free. Details for the show at \u003ca href=\"http://www.somarts.org/theblackwomanisgodopening2017/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13696351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg\" alt=\"Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2 – Aug. 13\u003c/strong>: \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a>, San Jose’s Chicano and Latino arts space, is hosting the show \u003cem>Shelter/Refugio,\u003c/em> a critique of how we think about everything from the evaporating American dream of a suburban home, to how we care for the homeless, the immigrant, and the refugee. The show includes a piece by \u003ca href=\"http://christreggiari.com/home.html\" target=\"_blank\" rel=\"noopener\">Chris Treggiari\u003c/a> and (UCSF Professor) \u003ca href=\"https://www.usfca.edu/faculty/sergio-de-la-torre\" target=\"_blank\" rel=\"noopener\">Sergio De La Torre\u003c/a> that simulates a raid by immigration agents inside the gallery. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For us the idea of a shelter is a place where you feel safe,” De La Torre told me by phone. “No matter whether you’re homeless or undocumented. Everyone deserves a safe place — a sanctuary.” \u003c/p>\n\u003cp>\u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">Details here for \u003cem>Shelter/Refugio. \u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13696403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg\" alt=\"Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1920x1337.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 20 – Oct 22\u003c/strong>:\u003cem> \u003c/em>We also talked to De La Torre partly because he and Chris Treggiari are also mounting a participatory show at the Yerba Buena Center for the Arts in San Francisco on themes they explored in the MACLA show. \u003cem>Sanctury Print Shop\u003c/em> is meant to educate people about the concept of a \u003ca href=\"https://en.wikipedia.org/wiki/Sanctuary_city\" target=\"_blank\" rel=\"noopener\">sanctuary city\u003c/a>. They’re offering free sikscreen workshops for visitors throughout the run of the show. \u003ca href=\"https://www.ybca.org/whats-on/sanctuary-print-shop\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I4LMAVzzaR8\u003c/p>\n\u003cp>\u003cstrong>July 21-22\u003c/strong>: The video above is a sample from the Baltimore team’s performance at last year’s Brave New Voices International Youth Poetry Slam Competition, a festival that is bringing teams of young poets from around the world to the East Bay and San Francisco. The local festival is hosted by \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, which trains Bay Area kids to write and perform. When she was a teenager, A-lan used to sneak out of her home in Los Angeles to attend Grand Slam competitions. She was knocked out by the passion and brilliance of the performers, the laughter and the deep introspection. The \u003ca href=\"http://bnv17.youthspeaks.org/the-slam/\" target=\"_blank\" rel=\"noopener noreferrer\">semi-finals and quarter-finals are at venues all over Berkeley and Oakland on Friday\u003c/a> afternoon and evening and they’re free, and the Grand Slam finals are at the San Francisco Opera House, a venue used to high emotion. As A-lan said, ‘You better believe “the next generation can speak for themselves.”’ \u003ca href=\"http://bnv17.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1PTjNqysmHk\u003c/p>\n\u003cp>\u003cstrong>Aug 11-13\u003c/strong>: Antoine Hunter’s \u003ca href=\"http://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> continues its impressively subversive mission with the fifth season of the \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener\">Bay Area International Deaf Dance Festival.\u003c/a> “The beautiful thing,” A-lan said, “about creating more visibility around the deaf and hard of hearing community is that is expands our understanding of communication.” There are performances and workshops featuring all kinds of dance styles, including ASL dance, a reminder that signing is a kind of beautiful movement as well. The workshops are in San Francisco at Dance Mission Theater in the Mission and at the Deaf Community Center in San Leandro. \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the festival are here. pat Dance Mission Theater in San Francisco are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IPbiklLnDQo\u003c/p>\n\u003cp>\u003cstrong>July 26\u003c/strong>: Beth Ditto says she never fit in in her hometown in rural Arkansas, maybe because she describes herself as a “fat feminist lesbian.” The former lead singer for the band Gossip has a hot album out now on her own that features 12 new songs. I love how she brings so much country to this mix of disco and power ballad and rock and roll. A-lan loves how the way she presses a body-positive message in danceable form. She’s known for her powerful live shows, so we’re wishing her best after a hospitalization earlier this month in New York and hopes that it doesn’t derail the rest of her tour. \u003ca href=\"http://www.theindependentsf.com/event/1479457-beth-ditto-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details for her show at the Independent in San Francisco are here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks so much to A-lan for joining us this week\u003c/p>\n\u003cfigure id=\"attachment_13696992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg\" alt=\"KQED's Cy Musiker and Stanford's A-lan Holt hosted The Do List this week\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-520x270.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Stanford’s A-lan Holt hosted The Do List this week \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is A-lan Holt, a playwright and movie maker (\u003cem>\u003ca href=\"http://www.inamoratafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Inamorata\u003c/a>–\u003c/em> with a screening August 4th at the Blackstar Film Fest), and the Associate Director of \u003ca href=\"https://diversityarts.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford’s Institute for Diversity in the Arts\u003c/a> (Instagram @a_lanmoon). Now here’s our picks.\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/LDtUS0k5r9o'\n title='//www.youtube.com/embed/LDtUS0k5r9o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 20 – Aug 26\u003c/strong>: “Abracadabrakaafrika” (the video above) by Oakland singer, community organizer and video maker Zakiya Harris is just one of the works on display at \u003ca href=\"http://www.somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a> in San Francisco as part of the new exhibit, \u003cem>The Black Woman Is God: Divine Revolution.\u003c/em> Co-curated by Karen Seneferu and Melora Green, the exhibition features works by 60 black women artists in a range of styles and media. The show touches on how African religions (Yoruba and others) feature female deities. But it’s also about how artists, like gods, are creators. “What does it mean for a black woman to create,” Seneferu told me, with Green finishing her thought. “To add to that, to have the audacity to create.” Green said. “When you look around this room, you’ll find a lot of women who’ve been creating in hiding. Most of these artists have experienced someone telling them that it (their work) doesn’t look good or doesn’t fit. And in this room, we’re saying your work is dope as hell.” \u003c/p>\n\u003cp>SOMarts will also host a \u003ca href=\"http://www.somarts.org/theblackwomanisgodwikipedia/\" target=\"_blank\" rel=\"noopener\">Wikipedia edit-a-thon\u003c/a> on Saturday, July 22, inviting people to help fill in the gaps in art history minimizing black women artists. Admission is always free. Details for the show at \u003ca href=\"http://www.somarts.org/theblackwomanisgodopening2017/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13696351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg\" alt=\"Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2 – Aug. 13\u003c/strong>: \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a>, San Jose’s Chicano and Latino arts space, is hosting the show \u003cem>Shelter/Refugio,\u003c/em> a critique of how we think about everything from the evaporating American dream of a suburban home, to how we care for the homeless, the immigrant, and the refugee. The show includes a piece by \u003ca href=\"http://christreggiari.com/home.html\" target=\"_blank\" rel=\"noopener\">Chris Treggiari\u003c/a> and (UCSF Professor) \u003ca href=\"https://www.usfca.edu/faculty/sergio-de-la-torre\" target=\"_blank\" rel=\"noopener\">Sergio De La Torre\u003c/a> that simulates a raid by immigration agents inside the gallery. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For us the idea of a shelter is a place where you feel safe,” De La Torre told me by phone. “No matter whether you’re homeless or undocumented. Everyone deserves a safe place — a sanctuary.” \u003c/p>\n\u003cp>\u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">Details here for \u003cem>Shelter/Refugio. \u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13696403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg\" alt=\"Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1920x1337.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 20 – Oct 22\u003c/strong>:\u003cem> \u003c/em>We also talked to De La Torre partly because he and Chris Treggiari are also mounting a participatory show at the Yerba Buena Center for the Arts in San Francisco on themes they explored in the MACLA show. \u003cem>Sanctury Print Shop\u003c/em> is meant to educate people about the concept of a \u003ca href=\"https://en.wikipedia.org/wiki/Sanctuary_city\" target=\"_blank\" rel=\"noopener\">sanctuary city\u003c/a>. They’re offering free sikscreen workshops for visitors throughout the run of the show. \u003ca href=\"https://www.ybca.org/whats-on/sanctuary-print-shop\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I4LMAVzzaR8'\n title='//www.youtube.com/embed/I4LMAVzzaR8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 21-22\u003c/strong>: The video above is a sample from the Baltimore team’s performance at last year’s Brave New Voices International Youth Poetry Slam Competition, a festival that is bringing teams of young poets from around the world to the East Bay and San Francisco. The local festival is hosted by \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, which trains Bay Area kids to write and perform. When she was a teenager, A-lan used to sneak out of her home in Los Angeles to attend Grand Slam competitions. She was knocked out by the passion and brilliance of the performers, the laughter and the deep introspection. The \u003ca href=\"http://bnv17.youthspeaks.org/the-slam/\" target=\"_blank\" rel=\"noopener noreferrer\">semi-finals and quarter-finals are at venues all over Berkeley and Oakland on Friday\u003c/a> afternoon and evening and they’re free, and the Grand Slam finals are at the San Francisco Opera House, a venue used to high emotion. As A-lan said, ‘You better believe “the next generation can speak for themselves.”’ \u003ca href=\"http://bnv17.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1PTjNqysmHk'\n title='//www.youtube.com/embed/1PTjNqysmHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug 11-13\u003c/strong>: Antoine Hunter’s \u003ca href=\"http://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> continues its impressively subversive mission with the fifth season of the \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener\">Bay Area International Deaf Dance Festival.\u003c/a> “The beautiful thing,” A-lan said, “about creating more visibility around the deaf and hard of hearing community is that is expands our understanding of communication.” There are performances and workshops featuring all kinds of dance styles, including ASL dance, a reminder that signing is a kind of beautiful movement as well. The workshops are in San Francisco at Dance Mission Theater in the Mission and at the Deaf Community Center in San Leandro. \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the festival are here. pat Dance Mission Theater in San Francisco are here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IPbiklLnDQo'\n title='//www.youtube.com/embed/IPbiklLnDQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 26\u003c/strong>: Beth Ditto says she never fit in in her hometown in rural Arkansas, maybe because she describes herself as a “fat feminist lesbian.” The former lead singer for the band Gossip has a hot album out now on her own that features 12 new songs. I love how she brings so much country to this mix of disco and power ballad and rock and roll. A-lan loves how the way she presses a body-positive message in danceable form. She’s known for her powerful live shows, so we’re wishing her best after a hospitalization earlier this month in New York and hopes that it doesn’t derail the rest of her tour. \u003ca href=\"http://www.theindependentsf.com/event/1479457-beth-ditto-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details for her show at the Independent in San Francisco are here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks so much to A-lan for joining us this week\u003c/p>\n\u003cfigure id=\"attachment_13696992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg\" alt=\"KQED's Cy Musiker and Stanford's A-lan Holt hosted The Do List this week\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-520x270.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Stanford’s A-lan Holt hosted The Do List this week \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two of country music’s biggest stars, Kenny Rogers and Dolly Parton, whose onstage chemistry spawned hit duets like “Islands in the Stream” and “Real Love,” will be making their final performance together this year.\u003c/p>\n\u003cp>Rogers, who is retiring from touring, says his final performance with Parton will be part of an all-star farewell show to be held at Nashville’s Bridgestone Arena on Oct. 25. The two have been performing together for more than 30 years since “Islands in the Stream,” written by the Bee Gees, became a pop crossover platinum hit in 1983.\u003c/p>\n\u003cp>Other performers for the farewell show are Little Big Town, Flaming Lips, Idina Menzel, Elle King, Jamey Johnson and Alison Krauss, with more names to be announced. Rogers made the announcement Tuesday at a press conference in Nashville. Tickets for the show will go on sale July 21.\u003c/p>\n\u003cp>Rogers, 78, said it’s been more than a decade since he performed with Parton for a CMT special.\u003c/p>\n\u003cp>“I think we owe it to her to let her go on with her career, but we owe it to me to do it one more time, and we’re going to do that,” Rogers said after the press conference.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his 60-year career, Rogers has had several successful duet partners, including Dottie West, Kim Carnes, Sheena Easton and Linda Davis, but Parton’s star power made their collaborations a tour de force.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=05TGYk5gTLM\u003c/p>\n\u003cp>“We can go three years without talking to each other and when we get together, it’s like we were together yesterday,” Rogers said. “We both feel that comfort.”\u003c/p>\n\u003cp>“Performing with Kenny for the last time ever on October 25th is going to be emotional for both of us, but it’s also going to be very special,”\u003cbr>\nParton said in a statement. “Even though Kenny may be retiring, as he fades from the stage, our love for each other will never fade away.”\u003c/p>\n\u003cp>The actor, singer and photographer with hits like “The Gambler,” ”Lady” and “Lucille,” announced in 2015 he would do a final farewell tour before retiring to spend more time with his family.\u003c/p>\n\u003cp>Rogers said he and Parton would definitely sing “Islands in the Stream,” but beyond that, he wasn’t sure yet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whether we do something else, I don’t know,” Rogers said. “That would require a rehearsal and I don’t know that Dolly or I, either one, are up for that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two of country music’s biggest stars, Kenny Rogers and Dolly Parton, whose onstage chemistry spawned hit duets like “Islands in the Stream” and “Real Love,” will be making their final performance together this year.\u003c/p>\n\u003cp>Rogers, who is retiring from touring, says his final performance with Parton will be part of an all-star farewell show to be held at Nashville’s Bridgestone Arena on Oct. 25. The two have been performing together for more than 30 years since “Islands in the Stream,” written by the Bee Gees, became a pop crossover platinum hit in 1983.\u003c/p>\n\u003cp>Other performers for the farewell show are Little Big Town, Flaming Lips, Idina Menzel, Elle King, Jamey Johnson and Alison Krauss, with more names to be announced. Rogers made the announcement Tuesday at a press conference in Nashville. Tickets for the show will go on sale July 21.\u003c/p>\n\u003cp>Rogers, 78, said it’s been more than a decade since he performed with Parton for a CMT special.\u003c/p>\n\u003cp>“I think we owe it to her to let her go on with her career, but we owe it to me to do it one more time, and we’re going to do that,” Rogers said after the press conference.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his 60-year career, Rogers has had several successful duet partners, including Dottie West, Kim Carnes, Sheena Easton and Linda Davis, but Parton’s star power made their collaborations a tour de force.\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/05TGYk5gTLM'\n title='//www.youtube.com/embed/05TGYk5gTLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We can go three years without talking to each other and when we get together, it’s like we were together yesterday,” Rogers said. “We both feel that comfort.”\u003c/p>\n\u003cp>“Performing with Kenny for the last time ever on October 25th is going to be emotional for both of us, but it’s also going to be very special,”\u003cbr>\nParton said in a statement. “Even though Kenny may be retiring, as he fades from the stage, our love for each other will never fade away.”\u003c/p>\n\u003cp>The actor, singer and photographer with hits like “The Gambler,” ”Lady” and “Lucille,” announced in 2015 he would do a final farewell tour before retiring to spend more time with his family.\u003c/p>\n\u003cp>Rogers said he and Parton would definitely sing “Islands in the Stream,” but beyond that, he wasn’t sure yet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whether we do something else, I don’t know,” Rogers said. “That would require a rehearsal and I don’t know that Dolly or I, either one, are up for that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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