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"title": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises",
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"content": "\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>[aside postid='arts_13951471']The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gzlpHYXIzdY\u003c/p>\n\u003cp>Never one to be upstaged, Taylor Swift took her turn at the spotlight — while accepting her 13th career Grammy, this time for best pop vocal album — to let the audience and her fans in on a secret: she has a new album on the way, \u003cem>The Tortured Poets Department\u003c/em>, dropping April 19.\u003c/p>\n\u003cp>[aside postid='arts_13951430']The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FMKQIgh85Kk\u003c/p>\n\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\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/FMKQIgh85Kk'\n title='//www.youtube.com/embed/FMKQIgh85Kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Red Carpet Looks From the 2024 Grammy Awards",
"headTitle": "Red Carpet Looks From the 2024 Grammy Awards | KQED",
"content": "\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Check out some of the this year’s most memorable red carpet looks from the 66th annual Grammy Awards.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SZA, Snoh Aalegra, Kaytraminé to Headline Sol Blume",
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"content": "\u003cp>This Sunday, we’ll find out if SZA will become the first Black woman in 25 years to \u003ca href=\"https://www.hollywoodreporter.com/news/music-news/szas-sos-could-make-history-black-women-grammys-2024-1235810407/\">win album of the year at the Grammys\u003c/a>. Whether or not \u003cem>SOS\u003c/em> wins the Recording Academy’s top honor, the New Jersey-raised singer made another big announcement today: she’ll headline \u003ca href=\"https://solblume.com/\">Sol Blume\u003c/a>, one of the West Coast’s biggest R&B festivals.\u003c/p>\n\u003cp>The independently produced event at Sacramento’s Discovery Park returns May 3-5 with an expanded three-day format and bigger stages. In addition to SZA, velvet-voiced singer Snoh Aalegra and house-rap duo Kaytraminé, a collaboration between dance music producer Kaytranada and rapper Aminé, top the bill.\u003c/p>\n\u003cfigure id=\"attachment_13905549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amin%C3%A9-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé Performs at Outside Lands on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup also includes an appearance from Doechii, a rapidly rising rapper and singer whose multifaceted sound pulls from jersey club, house music and R&B. (Doechii starred alongside Oakland’s \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia NoMore\u003c/a> in the acclaimed A24 film \u003ca href=\"https://www.kqed.org/forum/2010101893927/savannah-leafs-film-earth-mama-navigates-race-class-and-motherhood-in-oakland\">\u003cem>Earth Mama\u003c/em>\u003c/a>.) PinkPantheress, who blends hyperpop, garage and drum ‘n’ bass, also performs, along with genre-bending art-pop standouts Kelela and Omar Apollo. Also taking the stage is Ari Lennox, whose honest storytelling and arresting vocals do not miss, and singer-saxophone player Masego.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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>Sol Blume gets underway Friday–Sunday, May 3–5, at Discovery Park in Sacramento. Three-day passes go on sale Feb. 5. \u003ca href=\"https://solblume.com/\">Details and full lineup here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Sunday, we’ll find out if SZA will become the first Black woman in 25 years to \u003ca href=\"https://www.hollywoodreporter.com/news/music-news/szas-sos-could-make-history-black-women-grammys-2024-1235810407/\">win album of the year at the Grammys\u003c/a>. Whether or not \u003cem>SOS\u003c/em> wins the Recording Academy’s top honor, the New Jersey-raised singer made another big announcement today: she’ll headline \u003ca href=\"https://solblume.com/\">Sol Blume\u003c/a>, one of the West Coast’s biggest R&B festivals.\u003c/p>\n\u003cp>The independently produced event at Sacramento’s Discovery Park returns May 3-5 with an expanded three-day format and bigger stages. In addition to SZA, velvet-voiced singer Snoh Aalegra and house-rap duo Kaytraminé, a collaboration between dance music producer Kaytranada and rapper Aminé, top the bill.\u003c/p>\n\u003cfigure id=\"attachment_13905549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Amin%C3%A9-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé Performs at Outside Lands on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup also includes an appearance from Doechii, a rapidly rising rapper and singer whose multifaceted sound pulls from jersey club, house music and R&B. (Doechii starred alongside Oakland’s \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia NoMore\u003c/a> in the acclaimed A24 film \u003ca href=\"https://www.kqed.org/forum/2010101893927/savannah-leafs-film-earth-mama-navigates-race-class-and-motherhood-in-oakland\">\u003cem>Earth Mama\u003c/em>\u003c/a>.) PinkPantheress, who blends hyperpop, garage and drum ‘n’ bass, also performs, along with genre-bending art-pop standouts Kelela and Omar Apollo. Also taking the stage is Ari Lennox, whose honest storytelling and arresting vocals do not miss, and singer-saxophone player Masego.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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>Sol Blume gets underway Friday–Sunday, May 3–5, at Discovery Park in Sacramento. Three-day passes go on sale Feb. 5. \u003ca href=\"https://solblume.com/\">Details and full lineup here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The B-52s, Big Freedia to Headline Mosswood Meltdown",
"headTitle": "The B-52s, Big Freedia to Headline Mosswood Meltdown | KQED",
"content": "\u003cfigure id=\"attachment_13951338\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1860\" class=\"size-full wp-image-13951338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-2048x1488.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1920x1395.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Wilson, Fred Schneider and Kate Pierson of The B-52s at The Punk Rock Museum in Las Vegas in 2023. The band will headline this year’s Mosswood Meltdown festival in Oakland. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mosswood Meltdown returns to Mosswood Park on July 6 and 7, and the lineup is officially here. Topping the bill are The B-52s, the quirky, art-rock hitmakers best known for “Love Shack” and “Rock Lobster.” Big Freedia, queen of New Orleans bounce music and inspiration to \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>, also headlines, along with Oakland queer punk band Hunx and His Punx.\u003c/p>\n\u003cp>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> is a hidden gem among the Bay Area’s music festival offerings. Held in a North Oakland park where neighbors shoot hoops on the weekends, it’s much more lowkey than, say, Outside Lands or Portola. Its annual lineups bring underground icons together with up-and-coming acts. Leaning queer and feminist, it’s one of the few events where countercultural babies, teens, parents and even elders \u003cspan style=\"font-weight: 400\">—\u003c/span> not least, annual host John Waters \u003cspan style=\"font-weight: 400\">— can jam out together. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860397\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg\" alt=\"John Waters has hosted the Burger Boogaloo music festival in Oakland every year since 2015.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has hosted the Mosswood Meltdown music festival (formerly known as Burger Boogaloo) in Oakland every year since 2015. \u003ccite>((Tiger Lily/Courtesy Burger Boogaloo))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New at Mosswood this year is a drag contest hosted by San Francisco legend Peaches Christ. Electrofunk pioneer and turntable wizard Egyptian Lover is slated to perform, and ’90s indie-pop band Go Sailor will reunite at Mosswood for the first time in over a decade. Veteran Philly punks Pure Hell, former street musician and synth experimentalist The Space Lady, and Pansy Division, one of the first out gay rock bands, are also on the bill, along with many more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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>Mosswood Meltdown runs Saturday and Sunday, July 6 and 7, at Mosswood Park in Oakland. \u003ca href=\"https://mosswoodmeltdown.com/\">Full lineup and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951338\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1860\" class=\"size-full wp-image-13951338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-2048x1488.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/B52s.main_-1920x1395.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Wilson, Fred Schneider and Kate Pierson of The B-52s at The Punk Rock Museum in Las Vegas in 2023. The band will headline this year’s Mosswood Meltdown festival in Oakland. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mosswood Meltdown returns to Mosswood Park on July 6 and 7, and the lineup is officially here. Topping the bill are The B-52s, the quirky, art-rock hitmakers best known for “Love Shack” and “Rock Lobster.” Big Freedia, queen of New Orleans bounce music and inspiration to \u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a>, also headlines, along with Oakland queer punk band Hunx and His Punx.\u003c/p>\n\u003cp>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> is a hidden gem among the Bay Area’s music festival offerings. Held in a North Oakland park where neighbors shoot hoops on the weekends, it’s much more lowkey than, say, Outside Lands or Portola. Its annual lineups bring underground icons together with up-and-coming acts. Leaning queer and feminist, it’s one of the few events where countercultural babies, teens, parents and even elders \u003cspan style=\"font-weight: 400\">—\u003c/span> not least, annual host John Waters \u003cspan style=\"font-weight: 400\">— can jam out together. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860397\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg\" alt=\"John Waters has hosted the Burger Boogaloo music festival in Oakland every year since 2015.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Tiger-Lily-1-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has hosted the Mosswood Meltdown music festival (formerly known as Burger Boogaloo) in Oakland every year since 2015. \u003ccite>((Tiger Lily/Courtesy Burger Boogaloo))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New at Mosswood this year is a drag contest hosted by San Francisco legend Peaches Christ. Electrofunk pioneer and turntable wizard Egyptian Lover is slated to perform, and ’90s indie-pop band Go Sailor will reunite at Mosswood for the first time in over a decade. Veteran Philly punks Pure Hell, former street musician and synth experimentalist The Space Lady, and Pansy Division, one of the first out gay rock bands, are also on the bill, along with many more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/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>Mosswood Meltdown runs Saturday and Sunday, July 6 and 7, at Mosswood Park in Oakland. \u003ca href=\"https://mosswoodmeltdown.com/\">Full lineup and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok",
"headTitle": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok | KQED",
"content": "\u003cp>Universal Music Group \u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">has threatened to remove\u003c/a> all of the music it owns from TikTok, unless the streaming platform agrees to more favorable terms for its vast catalog.\u003c/p>\n\u003cp>Negotiations between the social media giant and the world’s largest music company have intensified as they’ve worked to hammer out a new contract, says Tatiana Cirisano, a music industry analyst at Midia Research. The current one expires on Jan. 31, 2024.\u003c/p>\n\u003cp>[aside postid='arts_13936325']“UMG is kind of taking the nuclear option of removing all their music and trying to prove … that TikTok couldn’t exist if it didn’t have their catalog,” she says.\u003c/p>\n\u003cp>Early Wednesday morning, UMG released what it called “\u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">An Open Letter to the Artist And Songwriter Community\u003c/a> — Why We Must Call Time Out On TikTok.” The letter, one suspects, is actually for music fans and tech watchdogs as well.\u003c/p>\n\u003cp>“In our contract renewal discussions, we have been pressing them on three critical issues,” the letter says of TikTok, noting the issues include protection against AI-generated recordings, online safety issues for users and higher compensation for its artists and songwriters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With respect to the issue of artist and songwriter compensation,” the letter continues, “TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay. Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue. Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”\u003c/p>\n\u003cp>[aside postid='arts_13931533']Compensation is the big sticking point here, says Cirisano. “I would also point out that this is probably going to do more for Universal Music Group as a company than it is for any of their individual artists and songwriters,” she says.\u003c/p>\n\u003cp>In \u003ca href=\"https://twitter.com/TikTokComms/status/1752539546233843884?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1752539546233843884%7Ctwgr%5E9258156bd65d97b97e65ff72d32edcba3d1bf95a%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2F7MnRSi3%3F_showcaption%3Dtrueapp%3D1\">a statement on social media\u003c/a>, TikTok accused UMG of promoting “false narratives and rhetoric” and of putting “greed above the interests of their artist and songwriter.”\u003c/p>\n\u003cp>“TikTok has been able to reach ‘artist-first’ agreements with every other label and publisher,” it says. “Clearly, Universal’s self-serving actions are not in the best interests of artists, songwriters and fans.”\u003c/p>\n\u003cp>Cirisano says the idea of TikTok building what UMG calls a “music-based business” has some merit. TikTok used to be just a place where artists could get exposure and market their music, she says. But the platform and its users are evolving.\u003c/p>\n\u003cp>“It’s becoming sort of a form of music consumption in its own right,” she says. “This is a space where especially young people are going on and listening to music … as they’re consuming. It’s a completely different experience than, say, adding a song to your Instagram story or things that were happening in the past.”\u003c/p>\n\u003cp>[aside postid='arts_13929332']The dispute should not overly affect the well-being or popularity of the labels’ roster of celebrity artists, she adds, which includes Taylor Swift, Lady Gaga and Elton John. But for the many other musicians whose work has become a part of TikTok’s fabric, there are larger implications for the future.\u003c/p>\n\u003cp>“There’s this really fast growing sector of independent artists and what is commonly referred to as ‘the long tail’ that are also releasing their music to streaming services and competing for attention,” she says, referring to all of the other music floating around that’s available to be used. “There’s a lot of other music that TikTok users have access to beyond the major label catalog than they would have five or 10 years ago. UMG is still the most powerful player here, but I think those dynamics have shifted a little bit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TikTok and other social media platforms, she says, are where new fandom and cultures are being built — and the music industry’s power players are wary of being left behind.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%2C+Drake%2C+BTS+and+more+may+have+their+music+taken+off+TikTok+%E2%80%94+here%27s+why&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“UMG is kind of taking the nuclear option of removing all their music and trying to prove … that TikTok couldn’t exist if it didn’t have their catalog,” she says.\u003c/p>\n\u003cp>Early Wednesday morning, UMG released what it called “\u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">An Open Letter to the Artist And Songwriter Community\u003c/a> — Why We Must Call Time Out On TikTok.” The letter, one suspects, is actually for music fans and tech watchdogs as well.\u003c/p>\n\u003cp>“In our contract renewal discussions, we have been pressing them on three critical issues,” the letter says of TikTok, noting the issues include protection against AI-generated recordings, online safety issues for users and higher compensation for its artists and songwriters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“With respect to the issue of artist and songwriter compensation,” the letter continues, “TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay. Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue. Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Compensation is the big sticking point here, says Cirisano. “I would also point out that this is probably going to do more for Universal Music Group as a company than it is for any of their individual artists and songwriters,” she says.\u003c/p>\n\u003cp>In \u003ca href=\"https://twitter.com/TikTokComms/status/1752539546233843884?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1752539546233843884%7Ctwgr%5E9258156bd65d97b97e65ff72d32edcba3d1bf95a%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2F7MnRSi3%3F_showcaption%3Dtrueapp%3D1\">a statement on social media\u003c/a>, TikTok accused UMG of promoting “false narratives and rhetoric” and of putting “greed above the interests of their artist and songwriter.”\u003c/p>\n\u003cp>“TikTok has been able to reach ‘artist-first’ agreements with every other label and publisher,” it says. “Clearly, Universal’s self-serving actions are not in the best interests of artists, songwriters and fans.”\u003c/p>\n\u003cp>Cirisano says the idea of TikTok building what UMG calls a “music-based business” has some merit. TikTok used to be just a place where artists could get exposure and market their music, she says. But the platform and its users are evolving.\u003c/p>\n\u003cp>“It’s becoming sort of a form of music consumption in its own right,” she says. “This is a space where especially young people are going on and listening to music … as they’re consuming. It’s a completely different experience than, say, adding a song to your Instagram story or things that were happening in the past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dispute should not overly affect the well-being or popularity of the labels’ roster of celebrity artists, she adds, which includes Taylor Swift, Lady Gaga and Elton John. But for the many other musicians whose work has become a part of TikTok’s fabric, there are larger implications for the future.\u003c/p>\n\u003cp>“There’s this really fast growing sector of independent artists and what is commonly referred to as ‘the long tail’ that are also releasing their music to streaming services and competing for attention,” she says, referring to all of the other music floating around that’s available to be used. “There’s a lot of other music that TikTok users have access to beyond the major label catalog than they would have five or 10 years ago. UMG is still the most powerful player here, but I think those dynamics have shifted a little bit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TikTok and other social media platforms, she says, are where new fandom and cultures are being built — and the music industry’s power players are wary of being left behind.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%2C+Drake%2C+BTS+and+more+may+have+their+music+taken+off+TikTok+%E2%80%94+here%27s+why&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "d-ray-bay-area-hip-hop-photographer",
"title": "D-Ray’s Photo Archive is West Coast Hip-Hop Gold",
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"headTitle": "D-Ray’s Photo Archive is West Coast Hip-Hop Gold | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>D-Ray’s photographs are full of bright, lively images of MCs you know by just one name. Kendrick. Jeezy. Even nicknames: Weezy. Anytime she and Drake cross paths, they take selfies.\u003c/p>\n\u003cp>The late Nipsey Hussle not only knew \u003ca href=\"https://www.instagram.com/isawdray/\" target=\"_blank\" rel=\"noopener\">D-Ray\u003c/a>, he would request that she be present at his Bay Area events. She served as official photographer for the late great Mac Dre’s \u003ca href=\"https://www.kqed.org/arts/13930686/thizz-entertainment-dj-mix-mac-dre-vallejo-rap-hyphy\">Thizz Nation\u003c/a> label. And her work documenting Bay Area hip-hop culture has been featured in many documentaries and print media, including \u003ca href=\"https://issuu.com/ozonemag\" target=\"_blank\" rel=\"noopener\">\u003cem>Ozone\u003c/em>\u003c/a> magazine, where she worked as West Coast editor, and \u003cem>\u003ca href=\"https://issuu.com/mrshowcase2022\">Showcase\u003c/a>\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13931800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg\" alt=\"A man in a durag and football jersey holds his arms spread, with friends in the background\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, who D-Ray photographed abundantly. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, a special corner of D-Ray’s extensive archive — her images of the iconic late Pittsburg rapper The Jacka — go on public display. They’ll be surrounded by drawings, recordings, and other forms of art at \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">The Jacka Art Experience\u003c/a>, running Jan. 31–Feb. 3 at The Loom in Oakland. [aside postid='arts_13951091']\u003c/p>\n\u003cp>D-Ray’s photography documented the life of not only the artist known as The Jacka, but the human being, Shaheed Akbar, who was murdered on Feb. 2, 2015. D-Ray was there for his vibrant life as well as his memorial. She was also present for E-40 and Keak da Sneak’s “Tell Me When To Go” video shoot, Mistah F.A.B.’s rise to fame, turf dance battles at Youth Uprising and many other flashpoints of Bay Area culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And to think, this West Coast cultural historian could’ve been a cake decorator.\u003c/p>\n\u003cp>“I used to take pictures of my cakes,” D-Ray tells me during a phone call, emphasizing the amount of energy she put into perfecting each pastry. “I spent all the time doing this and these people are going to eat my fucking cake?!” D-Ray says, recalling her frustration. “That’s how I started taking pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up in Hayward, D-Ray was first introduced to the camera by her grandfather. She worked a few gigs, from cake decorator to doing fashion and retail, and a stint as manager at the Picture People photo studio in Alameda’s South Shore Shopping Center. She eventually came back to decorating cakes, until her husband, hip-hop manager \u003ca href=\"https://www.youtube.com/watch?v=8pCb3Inh-TA\">Gary Archer\u003c/a>, asked her a profound question: “How many angles of that cake are you going to take pictures of?’” [aside postID='arts_13932030']\u003c/p>\n\u003cp>Gary, who bought D-Ray a camera at the turn of the millennium so the couple could document their family, began working in partnership with D-Ray — she took photos of the artists he managed, like Mistah F.A.B. He also introduced her to the late \u003ca href=\"https://www.instagram.com/isawdray/p/CFCy3Xlst1c/?img_index=1\" target=\"_blank\" rel=\"noopener\">Frank Herrera\u003c/a>, head of \u003cem>Showcase\u003c/em> magazine, the first publication to feature D-Ray’s work on the front cover.\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before her photography career took off, D-Ray tells me, she used to go through a process of decorating cakes: making one, not liking its appearance, scraping it off and then redecorating it. “In photography you can’t do that,” she tells me. “You come home, you’re looking at a set of pictures and you’re like, ‘I could’ve did that better.'”\u003c/p>\n\u003cp>[aside postID='arts_13934874']So she learned how to do it well the first time.\u003c/p>\n\u003cp>Now, after more than two decades documenting the culture, she reflects on her work with pride. “I really have a thing about telling the story through my photos about our culture,” she says, “and I feel like I’ve captured \u003cem>everything\u003c/em> through the years, and did it the best way possible, you know?”\u003c/p>\n\u003cp>Below is just a small sample of D-Ray’s photos, some never before seen, and her comments about each, edited for length and clarity.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13951134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png\" alt=\"Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster, Mistah F.A.B. at Moses Music in East Oakland.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1920x1272.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster Mistah F.A.B. at Moses Music in East Oakland in 2004. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> So this was me just looking around the room and seeing these two knuckleheads laugh. You know what I mean? Just seeing them crack jokes there. They’re probably just roasting each other like no tomorrow. If you see Jacka, you can almost hear him laughing.\u003c/p>\n\u003cp>This picture right here shows Stan and Jack’s relationship. A lot of people might not realize that F.A.B. and Jack are actually close, you know, like friendship-wise, more than just music. But this right here, this is Ramadan. So Jack was definitely fasting that day, and they were probably cracking a joke on how he wanted to eat or something, you know?\u003c/p>\n\u003cfigure id=\"attachment_13951129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png\" alt=\"Host Sway Calloway and East Oakland MC Keak Da Sneak chop it up while filming an episode of the show 'My Block' for MTV.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1920x1270.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Host Sway Calloway and East Oakland’s Keak Da Sneak chop it up while filming an episode of the show ‘My Block’ for MTV in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Keak’s house in the 70s in East Oakland, during \u003ca href=\"https://www.youtube.com/watch?v=jGoUezD5CxE\" target=\"_blank\" rel=\"noopener\">MTV’s \u003cem>My Block\u003c/em>\u003c/a>. History was being made and I decided to document it. To see them both sitting on a porch in East Oakland, it meant a lot to me. When Sway came to the Town it brought a lot of people out; it showed the love.\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rap star Messy Marv poses for a photo. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> So \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\" target=\"_blank\" rel=\"noopener\">Messy (Marv)\u003c/a> got the cover of \u003cem>Showcase\u003c/em> magazine; that was actually shot behind Showcase’s office in San Leandro, off East 14th. It’s my very first cover shot. Frank Herrera was like, “D-Ray, you think you can do it?” I was like, “Hell yeah.” Mind you, this was film. You couldn’t see what you were taking pictures of.\u003c/p>\n\u003cp>This shot ended up in \u003cem>The Source\u003c/em> magazine, \u003cem>XXL\u003c/em>, this is what got me exposure in the world. Messy Marv welcomed me into the world. Also, Kilo Curt, Mac Dre and Miami The Most showed up to go talk to Gary and Frank because they were working Mac Dre’s record at the time. They saw me doing Messy Marv’s photoshoot, and that’s what got me adopted into Thizz — because Dre was like, “Oh, we need a female photographer.”\u003c/p>\n\u003cfigure id=\"attachment_13951131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png\" alt=\"A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-2048x1371.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1920x1286.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> We used to have dance battles at Youth Uprising, it was a safe haven. Kids from East Oakland, their parents, folks who weren’t a part of the youth center would come, it was something to do on a Friday night. Those kids, look at them, those kids in the middle row are the only kids that probably go to Youth Uprising. Those other kids are family and friends.\u003c/p>\n\u003cfigure id=\"attachment_13951132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png\" alt='The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild while on the set of the video for the hit song \"Tell Me When To Go\".' width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1920x1269.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild on the set of the video for the hit song ‘Tell Me When To Go.’ \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> It’s showing East Oakland and both sides of Vallejo. Do you know what I’m talking about? Because I am the official Thizz photographer, and I still have a relationship with people like 40.\u003c/p>\n\u003cp>I saw it, I took it. I saw the T go up, and it automatically happens. I’ve just got to keep it real. As soon as the T goes up, it just happens. It’s just the way my mental is trained.\u003c/p>\n\u003cfigure id=\"attachment_13951133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png\" alt=\"Well-known rapper and proud representative of Pittsburg's El Pueblo Projects, The Husalah, posing for a photo while sitting in a cherry red drop top car.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-2048x1367.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1920x1281.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Well-known rapper and proud representative of Pittsburg’s El Pueblo Projects, Husalah. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> I spent like two weeks with \u003ca href=\"https://www.instagram.com/golasoaso/\" target=\"_blank\" rel=\"noopener\">Husalah\u003c/a> before he turned himself in, and we wanted to get all of his stages, like all of his looks. I mean, he changed his clothes multiple times. We went to the projects, we did all types of stuff, just to make sure he had content while he was in prison.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=YCLlU-8HsNE\" target=\"_blank\" rel=\"noopener\">When he was in prison\u003c/a>, I made sure that he was still kept alive. Like, I had good pictures of him. I had press packets. I had whatever we needed. It was a sad situation. I’ll never forget it was like those two weeks.\u003c/p>\n\u003cfigure id=\"attachment_13951130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png\" alt=\"The late MC, The Jacka, and well-known turf dancer, Ice Cold 3000, pose for a photo at Youth Uprising.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-2048x1352.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1920x1268.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and turf dancer Ice Cold 3000 pose for a photo at Youth Uprising. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Youth Uprising (YU). The Jacka would show up anytime I asked Jack to show up.\u003c/p>\n\u003cp>I have a thing with YU, those are all my kids. I don’t know him as “\u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener\">Ice Cold,\u003c/a>” I know him as Gary. You get what I’m saying? Today, knowing his name is Ice Cold, I’ve had to get used to it.\u003c/p>\n\u003cp>I have a bunch of kids at YU, and I just felt like I had to make sure (Gary) had a picture with my brother and he had that kind of love that my brother could pass off to him… And I just remember, because they were all excited to see Jack there.\u003c/p>\n\u003cp>Jack would get me in trouble tho, because he would come through smelling like OH MY GOD. Olis Simmons (the former head of YU) would say, “D-Ray, take him outside and spray him down before he comes in here.” I’d be like, “Why Jack, why?” But then, you couldn’t hold that against him. The kids would love him because he’d come in and he’d be himself. Jack would inspire those kids, and bring shirts and talk to them. I think that’s what gave Gary — Ice Cold — so much hope. He makes me very proud. Ice Cold makes me very, very, very proud. To see him glowing in this picture like he is, that’s why I pulled this picture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Jacka Art Experience runs Wednesday–Saturday, Jan. 31–Feb. 3, at the Loom in Oakland. \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Jacka. Nipsey. FAB. 40. Drake. Keak. Wayne. You name 'em, they've probably been photographed by D-Ray.",
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"title": "D-Ray’s Photo Archive is West Coast Hip-Hop Gold | KQED",
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"headline": "D-Ray’s Photo Archive is West Coast Hip-Hop Gold",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s story series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>D-Ray’s photographs are full of bright, lively images of MCs you know by just one name. Kendrick. Jeezy. Even nicknames: Weezy. Anytime she and Drake cross paths, they take selfies.\u003c/p>\n\u003cp>The late Nipsey Hussle not only knew \u003ca href=\"https://www.instagram.com/isawdray/\" target=\"_blank\" rel=\"noopener\">D-Ray\u003c/a>, he would request that she be present at his Bay Area events. She served as official photographer for the late great Mac Dre’s \u003ca href=\"https://www.kqed.org/arts/13930686/thizz-entertainment-dj-mix-mac-dre-vallejo-rap-hyphy\">Thizz Nation\u003c/a> label. And her work documenting Bay Area hip-hop culture has been featured in many documentaries and print media, including \u003ca href=\"https://issuu.com/ozonemag\" target=\"_blank\" rel=\"noopener\">\u003cem>Ozone\u003c/em>\u003c/a> magazine, where she worked as West Coast editor, and \u003cem>\u003ca href=\"https://issuu.com/mrshowcase2022\">Showcase\u003c/a>\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13931800\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931800\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg\" alt=\"A man in a durag and football jersey holds his arms spread, with friends in the background\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Hus-Jack-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka, who D-Ray photographed abundantly. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week, a special corner of D-Ray’s extensive archive — her images of the iconic late Pittsburg rapper The Jacka — go on public display. They’ll be surrounded by drawings, recordings, and other forms of art at \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">The Jacka Art Experience\u003c/a>, running Jan. 31–Feb. 3 at The Loom in Oakland. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>D-Ray’s photography documented the life of not only the artist known as The Jacka, but the human being, Shaheed Akbar, who was murdered on Feb. 2, 2015. D-Ray was there for his vibrant life as well as his memorial. She was also present for E-40 and Keak da Sneak’s “Tell Me When To Go” video shoot, Mistah F.A.B.’s rise to fame, turf dance battles at Youth Uprising and many other flashpoints of Bay Area culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And to think, this West Coast cultural historian could’ve been a cake decorator.\u003c/p>\n\u003cp>“I used to take pictures of my cakes,” D-Ray tells me during a phone call, emphasizing the amount of energy she put into perfecting each pastry. “I spent all the time doing this and these people are going to eat my fucking cake?!” D-Ray says, recalling her frustration. “That’s how I started taking pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up in Hayward, D-Ray was first introduced to the camera by her grandfather. She worked a few gigs, from cake decorator to doing fashion and retail, and a stint as manager at the Picture People photo studio in Alameda’s South Shore Shopping Center. She eventually came back to decorating cakes, until her husband, hip-hop manager \u003ca href=\"https://www.youtube.com/watch?v=8pCb3Inh-TA\">Gary Archer\u003c/a>, asked her a profound question: “How many angles of that cake are you going to take pictures of?’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gary, who bought D-Ray a camera at the turn of the millennium so the couple could document their family, began working in partnership with D-Ray — she took photos of the artists he managed, like Mistah F.A.B. He also introduced her to the late \u003ca href=\"https://www.instagram.com/isawdray/p/CFCy3Xlst1c/?img_index=1\" target=\"_blank\" rel=\"noopener\">Frank Herrera\u003c/a>, head of \u003cem>Showcase\u003c/em> magazine, the first publication to feature D-Ray’s work on the front cover.\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">On the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before her photography career took off, D-Ray tells me, she used to go through a process of decorating cakes: making one, not liking its appearance, scraping it off and then redecorating it. “In photography you can’t do that,” she tells me. “You come home, you’re looking at a set of pictures and you’re like, ‘I could’ve did that better.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So she learned how to do it well the first time.\u003c/p>\n\u003cp>Now, after more than two decades documenting the culture, she reflects on her work with pride. “I really have a thing about telling the story through my photos about our culture,” she says, “and I feel like I’ve captured \u003cem>everything\u003c/em> through the years, and did it the best way possible, you know?”\u003c/p>\n\u003cp>Below is just a small sample of D-Ray’s photos, some never before seen, and her comments about each, edited for length and clarity.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13951134\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951134\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png\" alt=\"Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster, Mistah F.A.B. at Moses Music in East Oakland.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-2048x1357.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/9-1920x1272.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Legendary late Pittsburg rapper, The Jacka, cracking jokes with Oakland community pillar and lyrical monster Mistah F.A.B. at Moses Music in East Oakland in 2004. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> So this was me just looking around the room and seeing these two knuckleheads laugh. You know what I mean? Just seeing them crack jokes there. They’re probably just roasting each other like no tomorrow. If you see Jacka, you can almost hear him laughing.\u003c/p>\n\u003cp>This picture right here shows Stan and Jack’s relationship. A lot of people might not realize that F.A.B. and Jack are actually close, you know, like friendship-wise, more than just music. But this right here, this is Ramadan. So Jack was definitely fasting that day, and they were probably cracking a joke on how he wanted to eat or something, you know?\u003c/p>\n\u003cfigure id=\"attachment_13951129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png\" alt=\"Host Sway Calloway and East Oakland MC Keak Da Sneak chop it up while filming an episode of the show 'My Block' for MTV.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/4-1920x1270.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Host Sway Calloway and East Oakland’s Keak Da Sneak chop it up while filming an episode of the show ‘My Block’ for MTV in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Keak’s house in the 70s in East Oakland, during \u003ca href=\"https://www.youtube.com/watch?v=jGoUezD5CxE\" target=\"_blank\" rel=\"noopener\">MTV’s \u003cem>My Block\u003c/em>\u003c/a>. History was being made and I decided to document it. To see them both sitting on a porch in East Oakland, it meant a lot to me. When Sway came to the Town it brought a lot of people out; it showed the love.\u003c/p>\n\u003cfigure id=\"attachment_13951128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png\" alt=\"Fillmore raised MC, San Francisco rap star Messy Marv poses for a photo.\" width=\"800\" height=\"1064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-800x1064.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-1020x1357.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3-768x1022.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/3.png 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rap star Messy Marv poses for a photo. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> So \u003ca href=\"https://www.youtube.com/watch?v=KPhMR8X5NHk\" target=\"_blank\" rel=\"noopener\">Messy (Marv)\u003c/a> got the cover of \u003cem>Showcase\u003c/em> magazine; that was actually shot behind Showcase’s office in San Leandro, off East 14th. It’s my very first cover shot. Frank Herrera was like, “D-Ray, you think you can do it?” I was like, “Hell yeah.” Mind you, this was film. You couldn’t see what you were taking pictures of.\u003c/p>\n\u003cp>This shot ended up in \u003cem>The Source\u003c/em> magazine, \u003cem>XXL\u003c/em>, this is what got me exposure in the world. Messy Marv welcomed me into the world. Also, Kilo Curt, Mac Dre and Miami The Most showed up to go talk to Gary and Frank because they were working Mac Dre’s record at the time. They saw me doing Messy Marv’s photoshoot, and that’s what got me adopted into Thizz — because Dre was like, “Oh, we need a female photographer.”\u003c/p>\n\u003cfigure id=\"attachment_13951131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951131\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png\" alt=\"A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-2048x1371.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/6-1920x1286.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A candid shot of one of the many dance battles held at Youth Uprising in deep East Oakland, circa 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> We used to have dance battles at Youth Uprising, it was a safe haven. Kids from East Oakland, their parents, folks who weren’t a part of the youth center would come, it was something to do on a Friday night. Those kids, look at them, those kids in the middle row are the only kids that probably go to Youth Uprising. Those other kids are family and friends.\u003c/p>\n\u003cfigure id=\"attachment_13951132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png\" alt='The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild while on the set of the video for the hit song \"Tell Me When To Go\".' width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-2048x1354.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/7-1920x1269.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ambassador of the Bay, E-40, sitting on his scraper watching Oakland going wild on the set of the video for the hit song ‘Tell Me When To Go.’ \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> It’s showing East Oakland and both sides of Vallejo. Do you know what I’m talking about? Because I am the official Thizz photographer, and I still have a relationship with people like 40.\u003c/p>\n\u003cp>I saw it, I took it. I saw the T go up, and it automatically happens. I’ve just got to keep it real. As soon as the T goes up, it just happens. It’s just the way my mental is trained.\u003c/p>\n\u003cfigure id=\"attachment_13951133\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951133\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png\" alt=\"Well-known rapper and proud representative of Pittsburg's El Pueblo Projects, The Husalah, posing for a photo while sitting in a cherry red drop top car.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-2048x1367.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8-1920x1281.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Well-known rapper and proud representative of Pittsburg’s El Pueblo Projects, Husalah. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>D-Ray:\u003c/b> I spent like two weeks with \u003ca href=\"https://www.instagram.com/golasoaso/\" target=\"_blank\" rel=\"noopener\">Husalah\u003c/a> before he turned himself in, and we wanted to get all of his stages, like all of his looks. I mean, he changed his clothes multiple times. We went to the projects, we did all types of stuff, just to make sure he had content while he was in prison.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=YCLlU-8HsNE\" target=\"_blank\" rel=\"noopener\">When he was in prison\u003c/a>, I made sure that he was still kept alive. Like, I had good pictures of him. I had press packets. I had whatever we needed. It was a sad situation. I’ll never forget it was like those two weeks.\u003c/p>\n\u003cfigure id=\"attachment_13951130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13951130\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png\" alt=\"The late MC, The Jacka, and well-known turf dancer, Ice Cold 3000, pose for a photo at Youth Uprising.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-2048x1352.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/5-1920x1268.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and turf dancer Ice Cold 3000 pose for a photo at Youth Uprising. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>D-Ray:\u003c/strong> This is at Youth Uprising (YU). The Jacka would show up anytime I asked Jack to show up.\u003c/p>\n\u003cp>I have a thing with YU, those are all my kids. I don’t know him as “\u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener\">Ice Cold,\u003c/a>” I know him as Gary. You get what I’m saying? Today, knowing his name is Ice Cold, I’ve had to get used to it.\u003c/p>\n\u003cp>I have a bunch of kids at YU, and I just felt like I had to make sure (Gary) had a picture with my brother and he had that kind of love that my brother could pass off to him… And I just remember, because they were all excited to see Jack there.\u003c/p>\n\u003cp>Jack would get me in trouble tho, because he would come through smelling like OH MY GOD. Olis Simmons (the former head of YU) would say, “D-Ray, take him outside and spray him down before he comes in here.” I’d be like, “Why Jack, why?” But then, you couldn’t hold that against him. The kids would love him because he’d come in and he’d be himself. Jack would inspire those kids, and bring shirts and talk to them. I think that’s what gave Gary — Ice Cold — so much hope. He makes me very proud. Ice Cold makes me very, very, very proud. To see him glowing in this picture like he is, that’s why I pulled this picture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jacka Art Experience runs Wednesday–Saturday, Jan. 31–Feb. 3, at the Loom in Oakland. \u003ca href=\"https://www.tickettailor.com/events/dreammoviellc/1101191\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chita Rivera, Broadway’s ‘First Great Triple Threat,’ Dies at 91",
"headTitle": "Chita Rivera, Broadway’s ‘First Great Triple Threat,’ Dies at 91 | KQED",
"content": "\u003cfigure id=\"attachment_13951265\" class=\"wp-caption aligncenter\" style=\"max-width: 2046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg\" alt=\"A smiling woman sits for a photographic portrait.\" width=\"2046\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg 2046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1637x2048.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1920x2402.jpg 1920w\" sizes=\"(max-width: 2046px) 100vw, 2046px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera in May 1977. \u003ccite>(Evening Standard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chita Rivera, who appeared in more than 20 Broadway musicals over six decades has died, according to her daughter, Lisa Mordente. The three-time Tony Award-winning Broadway legend created indelible roles — Anita in \u003cem>West Side Story\u003c/em>, Rose in \u003cem>Bye Bye Birdie\u003c/em>, Velma Kelly in \u003cem>Chicago\u003c/em>, and Aurora in \u003cem>Kiss of the Spiderwoman\u003c/em>. She was 91.\u003c/p>\n\u003cp>Rivera “was everything Broadway was meant to be,” says Laurence Maslon, co-producer of the 2004 PBS series, \u003cem>Broadway: The American Musical\u003c/em>. “She was spontaneous and compelling and talented as hell for decades and decades on Broadway. Once you saw her, you never forgot her.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g9_fi5ZmqyU\u003c/p>\n\u003cp>You might think Chita Rivera was a Broadway baby from childhood — but she wasn’t. Born Dolores Conchita Figueroa del Rivero in Washington, D.C., she \u003ca href=\"https://youtu.be/IPZBX8SiySA?si=ELIWcuAvLBe7puIV&t=448\">told an audience\u003c/a> at a Screen Actors Guild Foundation interview that she was a tomboy and drove her mother crazy: “She said, ‘I’m putting you in ballet class so that we can rein in some of that energy.’ So I am very grateful.”\u003c/p>\n\u003cp>Rivera took to ballet so completely that she got a full scholarship to the School of American Ballet in New York. But when she went with a friend to an audition for the tour of the Broadway show \u003cem>Call Me Madam\u003c/em>, Rivera got the job. Goodbye ballet, hello Broadway. In 1957, she landed her breakout role, Anita in \u003cem>West Side Story, \u003c/em>with a score by Leonard Bernstein and Stephen Sondheim.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hearing ‘America’ was just mind-boggling, with that rhythm,” Rivera \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14744266\">told NPR \u003c/a>in 2007 for the musical’s 50th anniversary. “I just couldn’t wait to do it. It was such a challenge. And, being Latin, you know, it was a welcoming sound.”\u003c/p>\n\u003cfigure id=\"attachment_13951270\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png\" alt=\"\" width=\"1294\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-800x780.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-1020x995.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-768x749.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, center, works with choreographer Jerome Robbins, second from left, and her fellow ‘West Side Story’ cast members in a rehearsal on July 22, 1957. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>West Side Story\u003c/em> allowed Rivera to reveal not only her athletic dancing chops, but her acting and singing chops. She recalls Leonard Bernstein teaching her the score himself: “I remember sitting next to Lenny and his starting with ‘A Boy Like That,’ teaching it to me and me saying, ‘I’ll never do this, I can’t hit those notes, I don’t know how to hit those notes.’ ”\u003c/p>\n\u003cp>But she did hit them, and being able to sing, act and dance made her a valuable Broadway commodity, said Maslon. “She was the first great triple threat. Broadway directors like Jerome Robbins and Bob Fosse saw the need to have performers who could do all three things and do them really well.”\u003c/p>\n\u003cp>And, from 1960 to 2013, she headlined some big hits — as well as some major flops. In 1986, Rivera was in a serious taxi accident. Her left leg was shattered, and the doctors said she’d never dance again, but she did — just differently.\u003c/p>\n\u003cfigure id=\"attachment_13951271\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png\" alt=\"A young woman and an older woman stand on stage, arms outstretched towards one another.\" width=\"1298\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-768x509.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, right, and Michelle Veintimilla perform at the Tony Awards at Radio City Music Hall on June 7, 2015 in New York City. \u003ccite>(Theo Wargo/ Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all have to be realistic,” she \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5048067\">told NPR\u003c/a> in 2005. “I don’t do flying splits anymore. I don’t do back flips and all the stuff that I used to do. You want to know something? I don’t want to.”\u003c/p>\n\u003cp>But her stardom never diminished. And the accolades flowed: she won several Tony Awards, including one for lifetime achievement, a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=871162\">Kennedy Center honor\u003c/a>, and a Presidential Medal of Freedom. Rivera didn’t do much television or film — she was completely devoted to the stage, says Maslon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s why they’re called Broadway legends,” he says. “Hopefully you get to see them live because you’ll never get to see them in another form in quite the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13951272\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png\" alt=\"\" width=\"1290\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-768x507.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera receives the Presidential Medal of Freedom from former president Barack Obama during a ceremony at the White House on Aug. 12, 2009. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Chita+Rivera%2C+Broadway%27s+%27First+Great+Triple+Threat%2C%27+dies+at+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951265\" class=\"wp-caption aligncenter\" style=\"max-width: 2046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg\" alt=\"A smiling woman sits for a photographic portrait.\" width=\"2046\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg 2046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1637x2048.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1920x2402.jpg 1920w\" sizes=\"(max-width: 2046px) 100vw, 2046px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera in May 1977. \u003ccite>(Evening Standard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chita Rivera, who appeared in more than 20 Broadway musicals over six decades has died, according to her daughter, Lisa Mordente. The three-time Tony Award-winning Broadway legend created indelible roles — Anita in \u003cem>West Side Story\u003c/em>, Rose in \u003cem>Bye Bye Birdie\u003c/em>, Velma Kelly in \u003cem>Chicago\u003c/em>, and Aurora in \u003cem>Kiss of the Spiderwoman\u003c/em>. She was 91.\u003c/p>\n\u003cp>Rivera “was everything Broadway was meant to be,” says Laurence Maslon, co-producer of the 2004 PBS series, \u003cem>Broadway: The American Musical\u003c/em>. “She was spontaneous and compelling and talented as hell for decades and decades on Broadway. Once you saw her, you never forgot her.”\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/g9_fi5ZmqyU'\n title='//www.youtube.com/embed/g9_fi5ZmqyU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might think Chita Rivera was a Broadway baby from childhood — but she wasn’t. Born Dolores Conchita Figueroa del Rivero in Washington, D.C., she \u003ca href=\"https://youtu.be/IPZBX8SiySA?si=ELIWcuAvLBe7puIV&t=448\">told an audience\u003c/a> at a Screen Actors Guild Foundation interview that she was a tomboy and drove her mother crazy: “She said, ‘I’m putting you in ballet class so that we can rein in some of that energy.’ So I am very grateful.”\u003c/p>\n\u003cp>Rivera took to ballet so completely that she got a full scholarship to the School of American Ballet in New York. But when she went with a friend to an audition for the tour of the Broadway show \u003cem>Call Me Madam\u003c/em>, Rivera got the job. Goodbye ballet, hello Broadway. In 1957, she landed her breakout role, Anita in \u003cem>West Side Story, \u003c/em>with a score by Leonard Bernstein and Stephen Sondheim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hearing ‘America’ was just mind-boggling, with that rhythm,” Rivera \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14744266\">told NPR \u003c/a>in 2007 for the musical’s 50th anniversary. “I just couldn’t wait to do it. It was such a challenge. And, being Latin, you know, it was a welcoming sound.”\u003c/p>\n\u003cfigure id=\"attachment_13951270\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png\" alt=\"\" width=\"1294\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-800x780.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-1020x995.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-768x749.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, center, works with choreographer Jerome Robbins, second from left, and her fellow ‘West Side Story’ cast members in a rehearsal on July 22, 1957. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>West Side Story\u003c/em> allowed Rivera to reveal not only her athletic dancing chops, but her acting and singing chops. She recalls Leonard Bernstein teaching her the score himself: “I remember sitting next to Lenny and his starting with ‘A Boy Like That,’ teaching it to me and me saying, ‘I’ll never do this, I can’t hit those notes, I don’t know how to hit those notes.’ ”\u003c/p>\n\u003cp>But she did hit them, and being able to sing, act and dance made her a valuable Broadway commodity, said Maslon. “She was the first great triple threat. Broadway directors like Jerome Robbins and Bob Fosse saw the need to have performers who could do all three things and do them really well.”\u003c/p>\n\u003cp>And, from 1960 to 2013, she headlined some big hits — as well as some major flops. In 1986, Rivera was in a serious taxi accident. Her left leg was shattered, and the doctors said she’d never dance again, but she did — just differently.\u003c/p>\n\u003cfigure id=\"attachment_13951271\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png\" alt=\"A young woman and an older woman stand on stage, arms outstretched towards one another.\" width=\"1298\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-768x509.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, right, and Michelle Veintimilla perform at the Tony Awards at Radio City Music Hall on June 7, 2015 in New York City. \u003ccite>(Theo Wargo/ Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all have to be realistic,” she \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5048067\">told NPR\u003c/a> in 2005. “I don’t do flying splits anymore. I don’t do back flips and all the stuff that I used to do. You want to know something? I don’t want to.”\u003c/p>\n\u003cp>But her stardom never diminished. And the accolades flowed: she won several Tony Awards, including one for lifetime achievement, a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=871162\">Kennedy Center honor\u003c/a>, and a Presidential Medal of Freedom. Rivera didn’t do much television or film — she was completely devoted to the stage, says Maslon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s why they’re called Broadway legends,” he says. “Hopefully you get to see them live because you’ll never get to see them in another form in quite the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13951272\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png\" alt=\"\" width=\"1290\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-768x507.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera receives the Presidential Medal of Freedom from former president Barack Obama during a ceremony at the White House on Aug. 12, 2009. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Chita+Rivera%2C+Broadway%27s+%27First+Great+Triple+Threat%2C%27+dies+at+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "12-san-jose-rap-tapes-that-youve-probably-never-heard-before",
"title": "12 San Jose Rap Tapes That You've (Probably) Never Heard Before",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003c/a>\u003c/em>That’s My Word\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>[dropcap]S[/dropcap]an Jose is the overlooked stepchild of Bay Area hip-hop. Like famed San Jose-raised producer \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">Peanut Butter Wolf\u003c/a> recently told KQED, it was decidedly \u003cem>not\u003c/em> a hip-hop city in the ’80s and early ’90s. As large as it is, and with a vibrant 1980s East Side car culture and electro club scene, you’d think it’d be in the conversation alongside Oakland, Vallejo, East Palo Alto and Richmond.\u003c/p>\n\u003cp>Turns out you just have to dig deeper. Here, cassette collector J. Darrah, a.k.a. \u003ca href=\"https://12manrambotapes.blogspot.com/\">12manrambo\u003c/a>, dives into \u003ca href=\"https://12manrambotapes.blogspot.com/\">his collection of over 500 Northern California rap tapes from 1985–2000\u003c/a> to unearth and add context to some of San Jose’s best early rap. You won’t be able to find most of these on Spotify — but without a doubt, taken together, these tracks reorient San Jose in the historical landscape. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iU0KPp41M5A\u003c/p>\n\u003ch2>1. MC Twist & The Def Squad, ‘I Like It Loud ’89’\u003c/h2>\n\u003cp>The one and only Bay Area artist signed to \u003ca href=\"https://www.discogs.com/label/6552-Luke-Skyywalker-Records\">Skyywalker Records\u003c/a> (run by Luke Skyywalker of 2 Live Crew), MC Twist came out hard with tracks like “I Like It Loud” off his \u003cem>Comin Thru Like Warriors\u003c/em> LP. His DJ Boy Flash and producer Kay Jay borrow a bit from L.A.’s Rodney O And Joe Cooley, and also throw in a classic Dionne Warwick sample of “\u003ca href=\"https://www.youtube.com/watch?v=FZLa-1q-lkw\">Do You Know The Way To San Jose\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Twist went on to self-release 1998’s \u003ca href=\"https://www.discogs.com/release/1109042-MC-Twist-MVP\">MVP\u003c/a>, a solid, more Mobb/G-funk oriented album, but disappeared soon afterward.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z2_hStmncxw\u003c/p>\n\u003ch2>2. Lyrical Prophecy, ‘You Can’t Swing This’\u003c/h2>\n\u003cp>Pressed in a low run of 500 copies, the Lyrical Prophecy 12″ is a difficult piece of wax to attain today, and it established \u003ca href=\"https://www.discogs.com/artist/222089-Chris-Cut\">Chris Cut\u003c/a>, a.k.a. \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">Peanut Butter Wolf\u003c/a>, as a young producer/DJ/entrepreneur on the San Jose scene. Wolf would go on to achieve success and indie-rap status with his label, Stones Throw, founded about five years later.\u003c/p>\n\u003cp>[aside postID='arts_13939767']Here, Chris set down his San Jose rap roots with \u003ca href=\"https://www.discogs.com/artist/1570868-Quiz-One?superFilter=Credits\">Quiz One\u003c/a> (RIP) and DJ Raleem (who went on to be better known as \u003ca href=\"https://www.discogs.com/artist/219142-Assassin-3\">Assassin\u003c/a>),\u003cbr>\nall a couple years before his unfortunately short-lived \u003ca href=\"https://www.discogs.com/artist/89874-Charizma-Peanut-Butter-Wolf\">collaborations with Charizma (RIP)\u003c/a>.\u003c/p>\n\u003cp>Bob James “Nautilus”/Public Enemy sample on the hook? Check. ‘Conscious’/’Lyrical Miracle Spiritual’-type lyrics? Check. Though this could easily be mistaken for something coming out of the Bronx or Brooklyn, Wolf would eventually blur the lines of regionality via his gloriously genre-bending label, and the duo of Quiz One and Assassin would soon establish a more West Coast identity via the “gangster rap” sound of their group Ghetto Politics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hzgQ56hQqos\u003c/p>\n\u003ch2>3. The Siggnett Posse, ‘The BBQ’\u003c/h2>\n\u003cp>The Siggnett Posse were led by rappers J-Wanz and D-Flat, and, since half the members were from Oakland, they titled their sole release \u003cem>\u003ca href=\"https://12manrambotapes.blogspot.com/2012/08/siggnett-posse-bsb-san-jose-92.html\">Both Sides Of The Bay\u003c/a>\u003c/em>. (It’s yet another Peanut Butter Wolf-related project; “Chris Cut” is credited as engineer, but in reality he ghost-produced the majority of the tape). \u003c/p>\n\u003cp>“The BBQ” is a classic feel-good summertime jam, full of youthful exuberance and naïveté with bit more of an edge than, say, A Lighter Shade Of Brown’s “Sunday Afternoon” or DJ Jazzy Jeff & the Fresh Prince’s “Summertime.” Just check out D-Flat exclaiming “I ain’t got no time for trippin’ / cuz every plate I’ve has been finger lickin’ / \u003cem>mother fuckin’ good\u003c/em>” before hittin’ the thai stick and having all the girls look at him funny for jumping into his danked-out dance routine, immediately followed by his second bottle of Crazy Horse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1frILH8XRfk\u003c/p>\n\u003ch2>4. Ghetto Politics, ‘Away From Home’\u003c/h2>\n\u003cp>In 1993, Quiz One and Assassin released their cassette- and vinyl-only EP release ‘Ghetto Life’ on the \u003ca href=\"https://12manrambotapes.blogspot.com/search/label/Dukie%20Duke%20Records\">Dukie Duke\u003c/a> label. The following year, Assassin would be replaced by Cisco The Frisco Mack, a.k.a. \u003ca href=\"https://www.discogs.com/artist/294161-Don-Cisco\">Don Cisco\u003c/a>, and the group changed the spelling of its name to \u003ca href=\"https://12manrambotapes.blogspot.com/search/label/Ghetto%20Politix\">Ghetto Politix\u003c/a> for a killer, now very hard-to-find full-length cassette release, \u003cem>Just Mob\u003c/em>.\u003c/p>\n\u003cp>But here, on their debut EP, Quiz and Assassin rock self-reflective rhymes over a hard breakbeat and a bluesy guitar-driven loop, all adding up to a hell of a mood that fit the group’s name.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4yUMEwVUotg\u003c/p>\n\u003ch2>5. Homeliss Derilex (feat. Encore), ‘Originator’\u003c/h2>\n\u003cp>With their jazzy East Coast vibe, Homeliss Derilex sounded far more Gang Starr than gangsta, while rapper 50 Grand had an unmistakable drawl that perfectly fit the unique, gritty production sound of G-Luv a.k.a. The Architect. The crew busted out on the scene with a \u003ca href=\"https://12manrambotapes.blogspot.com/2012/12/homeliss-derilex-demo-oakland-93.html\">rock-solid, seven-track demo tape\u003c/a> in 1993.\u003c/p>\n\u003cp>After being featured on \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Dave Paul\u003c/a>’s \u003cem>Bomb Hip-Hop Compilation\u003c/em>, which was \u003cem>the\u003c/em> definitive underground Bay Area rap comp at the time — showcasing such crucial local artists as Bored Stiff, Mystik Journeymen and Blackalicious, to name a few — they delivered another low-key but 100% dope debut on wax in the form of the “\u003ca href=\"https://www.discogs.com/master/775462-Homeliss-Derilex-Surviven-The-Game\">Survive’n The Game\u003c/a>” 12″, released on the Malvado label out of Oakland. \u003c/p>\n\u003cp>[aside postID='arts_13928550']One year later, anticipation built for a full-length release from the Homeliss Derilex when they dropped their \u003ca href=\"https://www.discogs.com/master/379130-Homeliss-Derilex-Cash-Money\">second 12″ single\u003c/a> on Stones Throw, but alas, the crew never did complete an LP during the ’90s.\u003c/p>\n\u003cp>Here, with their demo tape track “Originator” featuring a very young, fully formed and highly overlooked emcee \u003ca href=\"https://www.discogs.com/artist/31714-Encore\">Encore\u003c/a>, 50 Grand rides a thick, heavy vibraphone-laden Architect beat, proving how he “got more juice than citrus fruit.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIS6solQoGI\u003c/p>\n\u003ch2>6. G-Pack, ‘Damned’\u003c/h2>\n\u003cp>G-Pack were a lesser known crew that debuted on DJ Swift’s even lesser known \u003cem>\u003ca href=\"https://12manrambotapes.blogspot.com/2015/01/g-pack-etc-bay-area-rap-compilation-vol.html\">Bay Area Rap Compilation Vol. 1\u003c/a>\u003c/em>, which also featured a couple artists out of Richmond and Hayward. D-Mac and E-Money were the two main rappers, though a year later on their \u003cem>Comin’ Way Tight\u003c/em> album they enlisted the very promising talents of rapper \u003ca href=\"https://www.discogs.com/artist/302415-Young-Life\">Young Life\u003c/a> (who in the late 90s was rumored to have been working on a deal with Suge Knight at Death Row Records).\u003c/p>\n\u003cp>“Damned,” the compilation’s lead-off track, perfectly exemplifies the underground breakbeat-driven Bay Area sound of 1994, with live synths and the slick gangster/hustler flow of D-Mac & T-Spoon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ag2KsrUZzaY\u003c/p>\n\u003ch2>7. The Dereliks, ‘The Phrase That Pays’\u003c/h2>\n\u003cp>Another great San Jose group featured on the \u003cem>Bomb Hip-Hop Compilation\u003c/em>, The Dereliks were DJ Hen Boogie and MC Iz aka Izadoe. After a trio of \u003ca href=\"https://www.discogs.com/artist/89877-Dereliks?superFilter=Releases&subFilter=Singles+%26+EPs\">promising demos\u003c/a> from ’92-’94, the two released a classic EP, \u003cem>\u003ca href=\"https://www.discogs.com/master/116452-Dereliks-A-Turn-On-The-Wheel-Is-Worth-More-Than-A-Record-Deal\">A Turn on the Wheel Is Worth More Than a Record Deal\u003c/a>\u003c/em>, on Hen’s own Low Self Discipline label.\u003c/p>\n\u003cp>Still under the heavy influence, like many others, of the almighty De La Soul and Native Tongue era, “The Phrase That Pays” shows just how bohemian, self-conscious and “witty-with-wordplay” rap could get – “I’ll leave it to Bobbito to give me a break / I Sway from the top of the Bay down to Swan Lake.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q73ROxRNwDw\u003c/p>\n\u003ch2>8. F.B.G., ‘Dippin”\u003c/h2>\n\u003cp>For those who thought San Jose couldn’t mobb like Vallejo or Oakland…think again. Rapper/producer P-Nut started out under his Nut-Houze Productions imprint with partner Jaz, forming the group \u003ca href=\"https://www.discogs.com/artist/1447114-Straight-Funk\">Straight Funk\u003c/a> before creating his new label Rush Force Productions and group F.B.G. with fellow rappers Tyesta and Mr. Frosty in ’96, dropping the South Bay mobb bomb \u003cem>\u003ca href=\"https://www.discogs.com/master/1528919-FBG-Insane-Ta-Da-Brain\">Insane Ta Da Brain\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>On “Dippin’,” the 408 Blocc Gangstas go all in with some of the most menacing mobb music ever made. When you hear P-Nut chanting “bottle full o’ liquor and a indo stick / mobbin’ down the avenue dippin’ sick” over that beat and those screeching tire sounds, you’d best run for cover and head west to Sunnyvale!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-SqctWANgUY\u003c/p>\n\u003ch2>9. 007 Goon Squad, ‘What Dat’ 7 Like?’\u003c/h2>\n\u003cp>The mobbin’ continues in Southside San Jose with another under-appreciated producer by the name of \u003ca href=\"https://www.discogs.com/artist/437731-G-Rock-2\">G-Rock\u003c/a>. A bit older than his rap peers, G-Rock already had solid experience with state-of-the-art synths and drum machines from a previous era of funk (he played all the instruments on his \u003cem>\u003ca href=\"https://www.discogs.com/release/311660-Alien-Starr-World-Of-Ecstasy\">World Of Ecstasy\u003c/a>\u003c/em> EP from 1985, under the moniker Alien Starr). As a hip-hop producer, he had a distinct and often oddly out-of-place sound compared to other Bay rap production of the time, but in retrospect seems nothing less than innovative.\u003c/p>\n\u003cp>[aside postID='arts_13936387']Through the latter half of the ’90s, G-Rock ended up serving as a sort of in-house producer for some of San Jose’s “realest” gangster rappers (as in “actual gangbangers who happen to rap”) such as Full Clip and Loc’d Out Clique. 007 Goon Squad was made up of members of the \u003ca href=\"https://www.youtube.com/watch?v=vsnz-r9gEOw\">Seven Trees Crips\u003c/a>, and sadly never released a full-length. Luckily, they blessed us with the intense, soulful, slow-rolling track “What Dat’ 7 Like,” in which the crew “shoots a kite” to their homie serving 13 years in the clink.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gZUPc7sBhtc\u003c/p>\n\u003ch2>10. Sub Contents, ‘Parinoid’\u003c/h2>\n\u003cp>Consisting of Dave Dub, Persevere and beatmaker Fanatik, Sub Contents were an underground crew who also unfortunately never released a full album until \u003ca href=\"https://www.discogs.com/master/1131951-Subcontents-Notes-From-The-Cliff\">well after\u003c/a> the gritty indie-rap heyday of the mid-’90s (though their “\u003ca href=\"https://www.youtube.com/watch?v=0PTEfsjykXk\">Underbomber Theories\u003c/a>” did make its way onto Peanut Butter Wolf’s classic \u003cem>Step On Our Egos\u003c/em> EP.)\u003c/p>\n\u003cp>“Parinoid” finds Dave Dub firing off a fierce a capella with one of the rawest and thickest Bay rap accents ever heard south of West Oakland crew Hobo Junction’s Eyecue (a brief Southpaw label-mate of Dave’s, for the record). There’s a cold, menacing vocal sample of Black Moon’s Buckshot (“Hallucinate…ill visions in my head), which makes way for Dave Dub’s anxiety-riddled verbal onslaught, claiming “the world just ain’t the same as it was in my youth.” He retreats to the wilderness after “plugging a pig” and walking his Rottweiler with a choke-chain, wondering if he’s just paranoid or if “maybe it was just experimentation, from acid to blow.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NG848lanS24\u003c/p>\n\u003ch2>11. Third Sight, ‘Rhymes Like A Scientist’\u003c/h2>\n\u003cp>A three-man crew consisting of Du-Funk, Jihad and (current Invisibl Skratch Piklz) DJ D-Styles, Third Sight debuted with their now rarer-than-hen’s-teeth cassette \u003cem>\u003ca href=\"https://www.discogs.com/release/662146-Third-Sight-From-Outta-Nowhere\">From Outta Nowhere\u003c/a>\u003c/em> in 1993. Three years later came the underground classic “Ballsacks” 12″ on their Darc Brothas label, with the B-side “Rhymes Like A Scientist” having heads nodding from the Bay back to New York, where their core sound originated. Perhaps taking a cue from Blackalicious’ “40 Oz. for Breakfast,” in which the rapper delays his verse to allow the beat and the vibe to marinate, D-Styles cuts up Eric B. & Rakim’s “My Melody” for two whole minutes with such precision that it would make DJ Premier lose sleep.\u003c/p>\n\u003cp>[aside postID='arts_13904835']Finally, Jihad effortlessly wrecks the mic. This track was surely under the radar when it was released, but as a semi-avid clubgoer growing up in the L.A. area, I would hear this being spun (shout out to DJ Rob One RIP!) and folks in the crowd were BUGGING. OUT.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=31WTmqyDaRY\u003c/p>\n\u003ch2>12. Charizma & Peanut Butter Wolf, ‘Methods’\u003c/h2>\n\u003cp>Peanut Butter Wolf, as stated above, was a central figure in early San Jose rap. After countless local musical collaborations and contributions, he moved to L.A. so his Stones Throw label could flourish, and the rest is hip-hop history. In the early days as a producer, he found his counterpart \u003ca href=\"https://www.discogs.com/artist/34219-Charizma\">Charizma\u003c/a>, but the duo was tragically short-lived due to Charizma’s death in late 1993.\u003c/p>\n\u003cp>In the early 1990s, long before “emo rap” existed, there were hip-hop songs that could nonetheless make the listener feel a certain way: De La Soul’s “Pass The Plugs,” Nas’ “One Love,” Pharcyde’s “Passin’ Me By.” That feeling hits even harder with “Methods,” a posthumously released song from Charizma and Peanut Butter Wolf that leaves the listener imagining the two navigating the burgeoning industry not just as another hip-hop act but as two close friends, and pondering what heights they might have reached together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-full wp-image-11687704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003c/a>\u003c/em>That’s My Word\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>an Jose is the overlooked stepchild of Bay Area hip-hop. Like famed San Jose-raised producer \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">Peanut Butter Wolf\u003c/a> recently told KQED, it was decidedly \u003cem>not\u003c/em> a hip-hop city in the ’80s and early ’90s. As large as it is, and with a vibrant 1980s East Side car culture and electro club scene, you’d think it’d be in the conversation alongside Oakland, Vallejo, East Palo Alto and Richmond.\u003c/p>\n\u003cp>Turns out you just have to dig deeper. Here, cassette collector J. Darrah, a.k.a. \u003ca href=\"https://12manrambotapes.blogspot.com/\">12manrambo\u003c/a>, dives into \u003ca href=\"https://12manrambotapes.blogspot.com/\">his collection of over 500 Northern California rap tapes from 1985–2000\u003c/a> to unearth and add context to some of San Jose’s best early rap. You won’t be able to find most of these on Spotify — but without a doubt, taken together, these tracks reorient San Jose in the historical landscape. \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/iU0KPp41M5A'\n title='//www.youtube.com/embed/iU0KPp41M5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>1. MC Twist & The Def Squad, ‘I Like It Loud ’89’\u003c/h2>\n\u003cp>The one and only Bay Area artist signed to \u003ca href=\"https://www.discogs.com/label/6552-Luke-Skyywalker-Records\">Skyywalker Records\u003c/a> (run by Luke Skyywalker of 2 Live Crew), MC Twist came out hard with tracks like “I Like It Loud” off his \u003cem>Comin Thru Like Warriors\u003c/em> LP. His DJ Boy Flash and producer Kay Jay borrow a bit from L.A.’s Rodney O And Joe Cooley, and also throw in a classic Dionne Warwick sample of “\u003ca href=\"https://www.youtube.com/watch?v=FZLa-1q-lkw\">Do You Know The Way To San Jose\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Twist went on to self-release 1998’s \u003ca href=\"https://www.discogs.com/release/1109042-MC-Twist-MVP\">MVP\u003c/a>, a solid, more Mobb/G-funk oriented album, but disappeared soon afterward.\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/z2_hStmncxw'\n title='//www.youtube.com/embed/z2_hStmncxw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>2. Lyrical Prophecy, ‘You Can’t Swing This’\u003c/h2>\n\u003cp>Pressed in a low run of 500 copies, the Lyrical Prophecy 12″ is a difficult piece of wax to attain today, and it established \u003ca href=\"https://www.discogs.com/artist/222089-Chris-Cut\">Chris Cut\u003c/a>, a.k.a. \u003ca href=\"https://www.kqed.org/arts/13939767/peanut-butter-wolf-san-jose-hip-hop-1980s-1990s\">Peanut Butter Wolf\u003c/a>, as a young producer/DJ/entrepreneur on the San Jose scene. Wolf would go on to achieve success and indie-rap status with his label, Stones Throw, founded about five years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here, Chris set down his San Jose rap roots with \u003ca href=\"https://www.discogs.com/artist/1570868-Quiz-One?superFilter=Credits\">Quiz One\u003c/a> (RIP) and DJ Raleem (who went on to be better known as \u003ca href=\"https://www.discogs.com/artist/219142-Assassin-3\">Assassin\u003c/a>),\u003cbr>\nall a couple years before his unfortunately short-lived \u003ca href=\"https://www.discogs.com/artist/89874-Charizma-Peanut-Butter-Wolf\">collaborations with Charizma (RIP)\u003c/a>.\u003c/p>\n\u003cp>Bob James “Nautilus”/Public Enemy sample on the hook? Check. ‘Conscious’/’Lyrical Miracle Spiritual’-type lyrics? Check. Though this could easily be mistaken for something coming out of the Bronx or Brooklyn, Wolf would eventually blur the lines of regionality via his gloriously genre-bending label, and the duo of Quiz One and Assassin would soon establish a more West Coast identity via the “gangster rap” sound of their group Ghetto Politics.\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/hzgQ56hQqos'\n title='//www.youtube.com/embed/hzgQ56hQqos'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3. The Siggnett Posse, ‘The BBQ’\u003c/h2>\n\u003cp>The Siggnett Posse were led by rappers J-Wanz and D-Flat, and, since half the members were from Oakland, they titled their sole release \u003cem>\u003ca href=\"https://12manrambotapes.blogspot.com/2012/08/siggnett-posse-bsb-san-jose-92.html\">Both Sides Of The Bay\u003c/a>\u003c/em>. (It’s yet another Peanut Butter Wolf-related project; “Chris Cut” is credited as engineer, but in reality he ghost-produced the majority of the tape). \u003c/p>\n\u003cp>“The BBQ” is a classic feel-good summertime jam, full of youthful exuberance and naïveté with bit more of an edge than, say, A Lighter Shade Of Brown’s “Sunday Afternoon” or DJ Jazzy Jeff & the Fresh Prince’s “Summertime.” Just check out D-Flat exclaiming “I ain’t got no time for trippin’ / cuz every plate I’ve has been finger lickin’ / \u003cem>mother fuckin’ good\u003c/em>” before hittin’ the thai stick and having all the girls look at him funny for jumping into his danked-out dance routine, immediately followed by his second bottle of Crazy Horse.\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/1frILH8XRfk'\n title='//www.youtube.com/embed/1frILH8XRfk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>4. Ghetto Politics, ‘Away From Home’\u003c/h2>\n\u003cp>In 1993, Quiz One and Assassin released their cassette- and vinyl-only EP release ‘Ghetto Life’ on the \u003ca href=\"https://12manrambotapes.blogspot.com/search/label/Dukie%20Duke%20Records\">Dukie Duke\u003c/a> label. The following year, Assassin would be replaced by Cisco The Frisco Mack, a.k.a. \u003ca href=\"https://www.discogs.com/artist/294161-Don-Cisco\">Don Cisco\u003c/a>, and the group changed the spelling of its name to \u003ca href=\"https://12manrambotapes.blogspot.com/search/label/Ghetto%20Politix\">Ghetto Politix\u003c/a> for a killer, now very hard-to-find full-length cassette release, \u003cem>Just Mob\u003c/em>.\u003c/p>\n\u003cp>But here, on their debut EP, Quiz and Assassin rock self-reflective rhymes over a hard breakbeat and a bluesy guitar-driven loop, all adding up to a hell of a mood that fit the group’s name.\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/4yUMEwVUotg'\n title='//www.youtube.com/embed/4yUMEwVUotg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>5. Homeliss Derilex (feat. Encore), ‘Originator’\u003c/h2>\n\u003cp>With their jazzy East Coast vibe, Homeliss Derilex sounded far more Gang Starr than gangsta, while rapper 50 Grand had an unmistakable drawl that perfectly fit the unique, gritty production sound of G-Luv a.k.a. The Architect. The crew busted out on the scene with a \u003ca href=\"https://12manrambotapes.blogspot.com/2012/12/homeliss-derilex-demo-oakland-93.html\">rock-solid, seven-track demo tape\u003c/a> in 1993.\u003c/p>\n\u003cp>After being featured on \u003ca href=\"https://www.kqed.org/arts/13935467/the-bomb-magazine-label-san-francisco-turntablism-djs\">Dave Paul\u003c/a>’s \u003cem>Bomb Hip-Hop Compilation\u003c/em>, which was \u003cem>the\u003c/em> definitive underground Bay Area rap comp at the time — showcasing such crucial local artists as Bored Stiff, Mystik Journeymen and Blackalicious, to name a few — they delivered another low-key but 100% dope debut on wax in the form of the “\u003ca href=\"https://www.discogs.com/master/775462-Homeliss-Derilex-Surviven-The-Game\">Survive’n The Game\u003c/a>” 12″, released on the Malvado label out of Oakland. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One year later, anticipation built for a full-length release from the Homeliss Derilex when they dropped their \u003ca href=\"https://www.discogs.com/master/379130-Homeliss-Derilex-Cash-Money\">second 12″ single\u003c/a> on Stones Throw, but alas, the crew never did complete an LP during the ’90s.\u003c/p>\n\u003cp>Here, with their demo tape track “Originator” featuring a very young, fully formed and highly overlooked emcee \u003ca href=\"https://www.discogs.com/artist/31714-Encore\">Encore\u003c/a>, 50 Grand rides a thick, heavy vibraphone-laden Architect beat, proving how he “got more juice than citrus fruit.”\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/aIS6solQoGI'\n title='//www.youtube.com/embed/aIS6solQoGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>6. G-Pack, ‘Damned’\u003c/h2>\n\u003cp>G-Pack were a lesser known crew that debuted on DJ Swift’s even lesser known \u003cem>\u003ca href=\"https://12manrambotapes.blogspot.com/2015/01/g-pack-etc-bay-area-rap-compilation-vol.html\">Bay Area Rap Compilation Vol. 1\u003c/a>\u003c/em>, which also featured a couple artists out of Richmond and Hayward. D-Mac and E-Money were the two main rappers, though a year later on their \u003cem>Comin’ Way Tight\u003c/em> album they enlisted the very promising talents of rapper \u003ca href=\"https://www.discogs.com/artist/302415-Young-Life\">Young Life\u003c/a> (who in the late 90s was rumored to have been working on a deal with Suge Knight at Death Row Records).\u003c/p>\n\u003cp>“Damned,” the compilation’s lead-off track, perfectly exemplifies the underground breakbeat-driven Bay Area sound of 1994, with live synths and the slick gangster/hustler flow of D-Mac & T-Spoon.\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/ag2KsrUZzaY'\n title='//www.youtube.com/embed/ag2KsrUZzaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>7. The Dereliks, ‘The Phrase That Pays’\u003c/h2>\n\u003cp>Another great San Jose group featured on the \u003cem>Bomb Hip-Hop Compilation\u003c/em>, The Dereliks were DJ Hen Boogie and MC Iz aka Izadoe. After a trio of \u003ca href=\"https://www.discogs.com/artist/89877-Dereliks?superFilter=Releases&subFilter=Singles+%26+EPs\">promising demos\u003c/a> from ’92-’94, the two released a classic EP, \u003cem>\u003ca href=\"https://www.discogs.com/master/116452-Dereliks-A-Turn-On-The-Wheel-Is-Worth-More-Than-A-Record-Deal\">A Turn on the Wheel Is Worth More Than a Record Deal\u003c/a>\u003c/em>, on Hen’s own Low Self Discipline label.\u003c/p>\n\u003cp>Still under the heavy influence, like many others, of the almighty De La Soul and Native Tongue era, “The Phrase That Pays” shows just how bohemian, self-conscious and “witty-with-wordplay” rap could get – “I’ll leave it to Bobbito to give me a break / I Sway from the top of the Bay down to Swan Lake.”\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/q73ROxRNwDw'\n title='//www.youtube.com/embed/q73ROxRNwDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>8. F.B.G., ‘Dippin”\u003c/h2>\n\u003cp>For those who thought San Jose couldn’t mobb like Vallejo or Oakland…think again. Rapper/producer P-Nut started out under his Nut-Houze Productions imprint with partner Jaz, forming the group \u003ca href=\"https://www.discogs.com/artist/1447114-Straight-Funk\">Straight Funk\u003c/a> before creating his new label Rush Force Productions and group F.B.G. with fellow rappers Tyesta and Mr. Frosty in ’96, dropping the South Bay mobb bomb \u003cem>\u003ca href=\"https://www.discogs.com/master/1528919-FBG-Insane-Ta-Da-Brain\">Insane Ta Da Brain\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>On “Dippin’,” the 408 Blocc Gangstas go all in with some of the most menacing mobb music ever made. When you hear P-Nut chanting “bottle full o’ liquor and a indo stick / mobbin’ down the avenue dippin’ sick” over that beat and those screeching tire sounds, you’d best run for cover and head west to Sunnyvale!\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/-SqctWANgUY'\n title='//www.youtube.com/embed/-SqctWANgUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>9. 007 Goon Squad, ‘What Dat’ 7 Like?’\u003c/h2>\n\u003cp>The mobbin’ continues in Southside San Jose with another under-appreciated producer by the name of \u003ca href=\"https://www.discogs.com/artist/437731-G-Rock-2\">G-Rock\u003c/a>. A bit older than his rap peers, G-Rock already had solid experience with state-of-the-art synths and drum machines from a previous era of funk (he played all the instruments on his \u003cem>\u003ca href=\"https://www.discogs.com/release/311660-Alien-Starr-World-Of-Ecstasy\">World Of Ecstasy\u003c/a>\u003c/em> EP from 1985, under the moniker Alien Starr). As a hip-hop producer, he had a distinct and often oddly out-of-place sound compared to other Bay rap production of the time, but in retrospect seems nothing less than innovative.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Through the latter half of the ’90s, G-Rock ended up serving as a sort of in-house producer for some of San Jose’s “realest” gangster rappers (as in “actual gangbangers who happen to rap”) such as Full Clip and Loc’d Out Clique. 007 Goon Squad was made up of members of the \u003ca href=\"https://www.youtube.com/watch?v=vsnz-r9gEOw\">Seven Trees Crips\u003c/a>, and sadly never released a full-length. Luckily, they blessed us with the intense, soulful, slow-rolling track “What Dat’ 7 Like,” in which the crew “shoots a kite” to their homie serving 13 years in the clink.\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/gZUPc7sBhtc'\n title='//www.youtube.com/embed/gZUPc7sBhtc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>10. Sub Contents, ‘Parinoid’\u003c/h2>\n\u003cp>Consisting of Dave Dub, Persevere and beatmaker Fanatik, Sub Contents were an underground crew who also unfortunately never released a full album until \u003ca href=\"https://www.discogs.com/master/1131951-Subcontents-Notes-From-The-Cliff\">well after\u003c/a> the gritty indie-rap heyday of the mid-’90s (though their “\u003ca href=\"https://www.youtube.com/watch?v=0PTEfsjykXk\">Underbomber Theories\u003c/a>” did make its way onto Peanut Butter Wolf’s classic \u003cem>Step On Our Egos\u003c/em> EP.)\u003c/p>\n\u003cp>“Parinoid” finds Dave Dub firing off a fierce a capella with one of the rawest and thickest Bay rap accents ever heard south of West Oakland crew Hobo Junction’s Eyecue (a brief Southpaw label-mate of Dave’s, for the record). There’s a cold, menacing vocal sample of Black Moon’s Buckshot (“Hallucinate…ill visions in my head), which makes way for Dave Dub’s anxiety-riddled verbal onslaught, claiming “the world just ain’t the same as it was in my youth.” He retreats to the wilderness after “plugging a pig” and walking his Rottweiler with a choke-chain, wondering if he’s just paranoid or if “maybe it was just experimentation, from acid to blow.”\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/NG848lanS24'\n title='//www.youtube.com/embed/NG848lanS24'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>11. Third Sight, ‘Rhymes Like A Scientist’\u003c/h2>\n\u003cp>A three-man crew consisting of Du-Funk, Jihad and (current Invisibl Skratch Piklz) DJ D-Styles, Third Sight debuted with their now rarer-than-hen’s-teeth cassette \u003cem>\u003ca href=\"https://www.discogs.com/release/662146-Third-Sight-From-Outta-Nowhere\">From Outta Nowhere\u003c/a>\u003c/em> in 1993. Three years later came the underground classic “Ballsacks” 12″ on their Darc Brothas label, with the B-side “Rhymes Like A Scientist” having heads nodding from the Bay back to New York, where their core sound originated. Perhaps taking a cue from Blackalicious’ “40 Oz. for Breakfast,” in which the rapper delays his verse to allow the beat and the vibe to marinate, D-Styles cuts up Eric B. & Rakim’s “My Melody” for two whole minutes with such precision that it would make DJ Premier lose sleep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Finally, Jihad effortlessly wrecks the mic. This track was surely under the radar when it was released, but as a semi-avid clubgoer growing up in the L.A. area, I would hear this being spun (shout out to DJ Rob One RIP!) and folks in the crowd were BUGGING. OUT.\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/31WTmqyDaRY'\n title='//www.youtube.com/embed/31WTmqyDaRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>12. Charizma & Peanut Butter Wolf, ‘Methods’\u003c/h2>\n\u003cp>Peanut Butter Wolf, as stated above, was a central figure in early San Jose rap. After countless local musical collaborations and contributions, he moved to L.A. so his Stones Throw label could flourish, and the rest is hip-hop history. In the early days as a producer, he found his counterpart \u003ca href=\"https://www.discogs.com/artist/34219-Charizma\">Charizma\u003c/a>, but the duo was tragically short-lived due to Charizma’s death in late 1993.\u003c/p>\n\u003cp>In the early 1990s, long before “emo rap” existed, there were hip-hop songs that could nonetheless make the listener feel a certain way: De La Soul’s “Pass The Plugs,” Nas’ “One Love,” Pharcyde’s “Passin’ Me By.” That feeling hits even harder with “Methods,” a posthumously released song from Charizma and Peanut Butter Wolf that leaves the listener imagining the two navigating the burgeoning industry not just as another hip-hop act but as two close friends, and pondering what heights they might have reached together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Nichelle Lewis’ Incredible Journey From TikTok to Starring in ‘The Wiz’",
"headTitle": "Nichelle Lewis’ Incredible Journey From TikTok to Starring in ‘The Wiz’ | KQED",
"content": "\u003cp>Half a century after its debut, \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">\u003cem>The Wiz\u003c/em>\u003c/a> is \u003ca href=\"https://youtu.be/uNKmKOjGUbw?si=WB_S6tdig98GnFPp\">easing on down the road\u003c/a> again. The touring Broadway musical is currently in San Francisco, its second-to-last stop before parking in New York.\u003c/p>\n\u003cp>When it opened in 1975, \u003cem>The Wiz\u003c/em> shook up musical theater \u003cspan style=\"font-weight: 400\">—\u003c/span> to the tune of seven Tony Award nominations \u003cspan style=\"font-weight: 400\">—\u003c/span> with its uniquely Afro-diasporic approach to L. Frank Baum’s 1900 children’s book \u003cem>The Wonderful Wizard of Oz\u003c/em>. Under Geoffrey Holder’s direction and costume design, the original\u003cem> Wiz\u003c/em>’s blend of homegrown American fantasy, Caribbean-inspired costumes and ’70s soul music revolutionized Broadway. It boasted an all-Black cast, with R&B legend Stephanie Mills in the role of Dorothy.\u003c/p>\n\u003cfigure id=\"attachment_13951157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg\" alt=\"Hinton Battle in costume as the scarecrow, Stephanie Mills as Dorothy, Ted Ross as the lion and Tiger Haynes as the tin man in the original Broadway show of The Wiz in 1975.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hinton Battle, Stephanie Mills, Ted Ross and Tiger Haynes in ‘The Wiz’ in 1975. \u003ccite>(Martha Swope/ New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest staging of \u003cem>The\u003c/em> \u003cem>Wiz\u003c/em>, directed by Schele Williams, continues at Golden Gate Theatre through Feb. 11, and features Deborah Cox as Glinda and Wayne Brady in its titular role. And among these veteran performers, newcomer Nichelle Lewis shines as Dorothy.\u003c/p>\n\u003cp>The 24-year-old Virginia native began singing at the age of 10, and was invited to audition for the starring role after producers saw a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of her performing the show’s 11 o’clock number\u003c/a>, with a caption that detailed some of the loss she’s endured in her life. In mere months, Lewis went from making ends meet at Crate & Barrel to \u003ca href=\"https://www.youtube.com/watch?v=5uR2XRVFoP8\">appearing on television\u003c/a> and earning a Helen Hayes Award nomination.\u003c/p>\n\u003cp>Lewis spoke to KQED about her roots in the church, the pressure of stepping into the silver slippers and turning rejection into opportunity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio Rose: I hear that you grew up in the church. What did you love to listen to as a child? And when did you realize that singing was going to be a part of your life in a major way?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nichelle Lewis:\u003c/strong> When I was a kid, I really loved listening to soul music, those things that really pull at your heartstrings. And I think probably it did come from growing up in the church. A lot of the gospel music was music where you heard these amazing, huge voices telling a story. But it always started off soft and beautiful, and then it would get big and you could feel all their emotions. It really made me feel like I really want to be able to do something like that.\u003c/p>\n\u003cp>I started to do it when I was asked to sing for my father. I remember afterwards people were crying, and I was like, “Oh, I can do this. I can make people feel the way I felt listening to so many other amazing singers.” So I decided at that moment, maybe this could be something I will do for the rest of my life.\u003c/p>\n\u003cfigure id=\"attachment_13951159\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg\" alt=\"A scene from 'The Wiz' where Glinda sings to Dorothy.\" width=\"1024\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-768x1152.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Nichelle Lewis as Dorothy and Deborah Cox as Glinda in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In 2022, \u003cem>American Idol\u003c/em> producers invited you to audition for the show, and you received a golden ticket after impressing the judges with Aretha Franklin’s “Respect.” Unfortunately, your \u003cem>Idol\u003c/em> journey ended at the Hollywood stage. How did you make sense of or cope with that experience?\u003c/strong>\u003c/p>\n\u003cp>I felt really defeated in that moment when they told me no, especially because I have to try and keep it together because I don’t want to be sobbing through my montage. I remember going home and trying to cope with it all. It really did take me a good minute to realize that was a wonderful experience, but right now what we’re going to focus on is just putting yourself out there because you know that this dream is meant for you. And that’s what I did for a good year.\u003c/p>\n\u003cp>\u003cstrong>In February of last year, you posted a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of yourself singing “Home.”\u003c/a> You’re singing that song over a testimony — [in the caption,] you detailed losing seven different loved ones in your life, including your father, your aunt and your grandmother. And you said that singing kept you alive and keeps you alive. What was going on that made you want to share that message and pick that song?\u003c/strong>\u003c/p>\n\u003cp>I know that there’s so many pages on Instagram and TikTok that only show the surface. They make you feel like people don’t really go through things. I hear a lot of people say stuff like that in the comments like, “Oh, she probably has such a perfect life.” [aside postid='arts_13951141']\u003c/p>\n\u003cp>I don’t want people to think that my life is happy-go-lucky all the time. I always said that I wanted to be as honest and raw as I could be. So for me, sharing “Home” and sharing my story was me trying to be honest with the small audience that I had, and show them that I am growing, I’m learning.\u003c/p>\n\u003cp>\u003cstrong>You’ve been touring the country as Dorothy. What are you learning about the people of this country as you are going from stop to stop?\u003c/strong>\u003c/p>\n\u003cp>People just want to relate to someone. They want to connect, and they want to have someone that’s going to fight for them and show that honesty. I talk to these amazing people that I get to meet all over the country, [and I’m] always met with people saying, “Wow, I needed that and … I’m so glad I got to see that.”\u003c/p>\n\u003cp>It just makes me realize how much people want to connect with people who are in a position to advocate and inspire others. Especially in this time.\u003c/p>\n\u003cfigure id=\"attachment_13951160\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg\" alt=\"A scene from 'The Wiz' where Dorothy and her aunt sit on the porch and her aunt looks at her with a reassuring gaze.\" width=\"1536\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-768x513.jpg 768w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy (Nichelle Lewis) and Aunt Em (Melody Betts) perform ‘The Feeling We Once Had’ in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How are Bay Area audiences reacting to \u003cem>The Wiz\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I think that they’re taking it really well. They’re laughing at a lot of the things that we talk about, especially the housing crisis that we’re experiencing all over the country. And I think that they have been happy to see a show that they can connect with and a show that is current.\u003c/p>\n\u003cp>They laugh really hard at that joke — mostly because most people are having such a struggle just getting a cheap or decent-priced place to live. Everything is so expensive, and it almost feels like your country is trying to push you out. So having someone talk about it, especially in a show, makes you feel like [you’re] not alone in that, you know? [aside postid='arts_13951091']\u003c/p>\n\u003cp>\u003cstrong>How has doing this role on this tour at this time, knowing that you’re headed for Broadway, changed your own definition of home?\u003c/strong>\u003c/p>\n\u003cp>It has made me realize that I’ve kind of been going on the same journey as Dorothy, trying to understand that even though my world has changed, it is still just as beautiful and just as meaningful as it was before. I think for a long time I couldn’t really grasp that my world was different. Thinking about all those people who have passed. I do pay tribute to them a lot at the end of the show, but I also think about my mom and how amazing she is. I talk to her every day. To know that I get to bring her with me on this journey, and I get to bring her with me to Broadway? That, for me, is home. It feels like where I’m supposed to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Wiz’ continues at Golden Gate Theatre in San Francisco through Feb. 11. \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Half a century after its debut, \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">\u003cem>The Wiz\u003c/em>\u003c/a> is \u003ca href=\"https://youtu.be/uNKmKOjGUbw?si=WB_S6tdig98GnFPp\">easing on down the road\u003c/a> again. The touring Broadway musical is currently in San Francisco, its second-to-last stop before parking in New York.\u003c/p>\n\u003cp>When it opened in 1975, \u003cem>The Wiz\u003c/em> shook up musical theater \u003cspan style=\"font-weight: 400\">—\u003c/span> to the tune of seven Tony Award nominations \u003cspan style=\"font-weight: 400\">—\u003c/span> with its uniquely Afro-diasporic approach to L. Frank Baum’s 1900 children’s book \u003cem>The Wonderful Wizard of Oz\u003c/em>. Under Geoffrey Holder’s direction and costume design, the original\u003cem> Wiz\u003c/em>’s blend of homegrown American fantasy, Caribbean-inspired costumes and ’70s soul music revolutionized Broadway. It boasted an all-Black cast, with R&B legend Stephanie Mills in the role of Dorothy.\u003c/p>\n\u003cfigure id=\"attachment_13951157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg\" alt=\"Hinton Battle in costume as the scarecrow, Stephanie Mills as Dorothy, Ted Ross as the lion and Tiger Haynes as the tin man in the original Broadway show of The Wiz in 1975.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hinton Battle, Stephanie Mills, Ted Ross and Tiger Haynes in ‘The Wiz’ in 1975. \u003ccite>(Martha Swope/ New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest staging of \u003cem>The\u003c/em> \u003cem>Wiz\u003c/em>, directed by Schele Williams, continues at Golden Gate Theatre through Feb. 11, and features Deborah Cox as Glinda and Wayne Brady in its titular role. And among these veteran performers, newcomer Nichelle Lewis shines as Dorothy.\u003c/p>\n\u003cp>The 24-year-old Virginia native began singing at the age of 10, and was invited to audition for the starring role after producers saw a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of her performing the show’s 11 o’clock number\u003c/a>, with a caption that detailed some of the loss she’s endured in her life. In mere months, Lewis went from making ends meet at Crate & Barrel to \u003ca href=\"https://www.youtube.com/watch?v=5uR2XRVFoP8\">appearing on television\u003c/a> and earning a Helen Hayes Award nomination.\u003c/p>\n\u003cp>Lewis spoke to KQED about her roots in the church, the pressure of stepping into the silver slippers and turning rejection into opportunity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio Rose: I hear that you grew up in the church. What did you love to listen to as a child? And when did you realize that singing was going to be a part of your life in a major way?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nichelle Lewis:\u003c/strong> When I was a kid, I really loved listening to soul music, those things that really pull at your heartstrings. And I think probably it did come from growing up in the church. A lot of the gospel music was music where you heard these amazing, huge voices telling a story. But it always started off soft and beautiful, and then it would get big and you could feel all their emotions. It really made me feel like I really want to be able to do something like that.\u003c/p>\n\u003cp>I started to do it when I was asked to sing for my father. I remember afterwards people were crying, and I was like, “Oh, I can do this. I can make people feel the way I felt listening to so many other amazing singers.” So I decided at that moment, maybe this could be something I will do for the rest of my life.\u003c/p>\n\u003cfigure id=\"attachment_13951159\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg\" alt=\"A scene from 'The Wiz' where Glinda sings to Dorothy.\" width=\"1024\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-768x1152.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Nichelle Lewis as Dorothy and Deborah Cox as Glinda in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In 2022, \u003cem>American Idol\u003c/em> producers invited you to audition for the show, and you received a golden ticket after impressing the judges with Aretha Franklin’s “Respect.” Unfortunately, your \u003cem>Idol\u003c/em> journey ended at the Hollywood stage. How did you make sense of or cope with that experience?\u003c/strong>\u003c/p>\n\u003cp>I felt really defeated in that moment when they told me no, especially because I have to try and keep it together because I don’t want to be sobbing through my montage. I remember going home and trying to cope with it all. It really did take me a good minute to realize that was a wonderful experience, but right now what we’re going to focus on is just putting yourself out there because you know that this dream is meant for you. And that’s what I did for a good year.\u003c/p>\n\u003cp>\u003cstrong>In February of last year, you posted a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of yourself singing “Home.”\u003c/a> You’re singing that song over a testimony — [in the caption,] you detailed losing seven different loved ones in your life, including your father, your aunt and your grandmother. And you said that singing kept you alive and keeps you alive. What was going on that made you want to share that message and pick that song?\u003c/strong>\u003c/p>\n\u003cp>I know that there’s so many pages on Instagram and TikTok that only show the surface. They make you feel like people don’t really go through things. I hear a lot of people say stuff like that in the comments like, “Oh, she probably has such a perfect life.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t want people to think that my life is happy-go-lucky all the time. I always said that I wanted to be as honest and raw as I could be. So for me, sharing “Home” and sharing my story was me trying to be honest with the small audience that I had, and show them that I am growing, I’m learning.\u003c/p>\n\u003cp>\u003cstrong>You’ve been touring the country as Dorothy. What are you learning about the people of this country as you are going from stop to stop?\u003c/strong>\u003c/p>\n\u003cp>People just want to relate to someone. They want to connect, and they want to have someone that’s going to fight for them and show that honesty. I talk to these amazing people that I get to meet all over the country, [and I’m] always met with people saying, “Wow, I needed that and … I’m so glad I got to see that.”\u003c/p>\n\u003cp>It just makes me realize how much people want to connect with people who are in a position to advocate and inspire others. Especially in this time.\u003c/p>\n\u003cfigure id=\"attachment_13951160\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg\" alt=\"A scene from 'The Wiz' where Dorothy and her aunt sit on the porch and her aunt looks at her with a reassuring gaze.\" width=\"1536\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-768x513.jpg 768w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy (Nichelle Lewis) and Aunt Em (Melody Betts) perform ‘The Feeling We Once Had’ in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How are Bay Area audiences reacting to \u003cem>The Wiz\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I think that they’re taking it really well. They’re laughing at a lot of the things that we talk about, especially the housing crisis that we’re experiencing all over the country. And I think that they have been happy to see a show that they can connect with and a show that is current.\u003c/p>\n\u003cp>They laugh really hard at that joke — mostly because most people are having such a struggle just getting a cheap or decent-priced place to live. Everything is so expensive, and it almost feels like your country is trying to push you out. So having someone talk about it, especially in a show, makes you feel like [you’re] not alone in that, you know? \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How has doing this role on this tour at this time, knowing that you’re headed for Broadway, changed your own definition of home?\u003c/strong>\u003c/p>\n\u003cp>It has made me realize that I’ve kind of been going on the same journey as Dorothy, trying to understand that even though my world has changed, it is still just as beautiful and just as meaningful as it was before. I think for a long time I couldn’t really grasp that my world was different. Thinking about all those people who have passed. I do pay tribute to them a lot at the end of the show, but I also think about my mom and how amazing she is. I talk to her every day. To know that I get to bring her with me on this journey, and I get to bring her with me to Broadway? That, for me, is home. It feels like where I’m supposed to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Wiz’ continues at Golden Gate Theatre in San Francisco through Feb. 11. \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session",
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"content": "\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>[aside postid='arts_13936153']“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MD3oU1gowu4\u003c/p>\n\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>[aside postid='arts_13951078']The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\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/MD3oU1gowu4'\n title='//www.youtube.com/embed/MD3oU1gowu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth",
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"content": "\u003cp>Michael Tilson Thomas was in a good mood.\u003c/p>\n\u003cp>Entering the stage at Davies Symphony Hall on Thursday night to an instant standing ovation, a playful smirk came across his face. While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>[aside postID='arts_13909978']Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/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>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas was in a good mood.\u003c/p>\n\u003cp>Entering the stage at Davies Symphony Hall on Thursday night to an instant standing ovation, a playful smirk came across his face. While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/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>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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