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"title": "Liner Notes: Peace, Love, and Sax With Lidia Rodriguez",
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"content": "\u003cp>Dimming one’s light in the face of haters is not something \u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> knows how to do. Whenever she gets comments from guys about her size or gender, the baritone player is quick to clap back with a joke and prove them wrong. \u003cspan style=\"font-weight: 400\">“When I’m playing my bari sax, I feel huge. I feel powerful. I feel seven feet tall. I feel like no one could tell me s**t. Like I feel so good about myself.”\u003c/span>\u003c/p>\n\u003cp>Lidia Rodriguez is a musical force performing and recording across genre. She gets down playing cumbia with \u003ca href=\"http://lamisanegra.squarespace.com/\">La Misa Negra\u003c/a>, rocks stages with electronic group \u003ca href=\"https://www.madamegandhi.com/\">Madame Gandhi\u003c/a>, and even goes dumb while performing with the Golden State Warriors brass band, the \u003ca href=\"https://www.instagram.com/baybluenotes/?hl=en\">Bay Blue Notes\u003c/a>.\u003c/p>\n\u003cp>Growing up in Mudville a.k.a Stockton, and later attending San Jose State, Lidia says she is a product of public music education. Now, as an educator herself, teaching bilingual music lessons, Lidia is not only training the next generation of musicians but also nurturing students to be self compassionate and authentically themselves.\u003c/p>\n\u003cp>On this week’s Rightnowish, Lidia Rodriguez talks about the power of showing up as her full self (a queer and Latina saxophonist) in music spaces and her mission to spread the power of “peace, love and sax.”\u003c/p>\n\u003cfigure id=\"attachment_13930578\" class=\"wp-caption alignnone\" style=\"max-width: 685px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930578 size-full\" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Photo-by-Patric-Carver-@pc.photo_.rock_.jpeg\" alt=\"Lidia is on stage in front of a mic stand with her flute and baritone saxophone on stands. Green stage light reflects off her curly hair\" width=\"685\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Photo-by-Patric-Carver-@pc.photo_.rock_.jpeg 685w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Photo-by-Patric-Carver-@pc.photo_.rock_-160x239.jpeg 160w\" sizes=\"(max-width: 685px) 100vw, 685px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez on stage performing with the band, Madame Gandhi. \u003ccite>(Patric Carver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3Xi0oMz\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>Below are lightly edited excerpts of my conversation with Lidia Rodriguez.\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, the baritone sax is like such a unique instrument. For people who don’t know, it’s the biggest of all the saxophones. It’s like… plays the lower notes and it’s actually the heaviest. So like, why were you called to the baritone saxophone? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> I can remember wanting to play it because I actually saw another female. She was playing bari sax while my sister was in a jazz band. And I always thought, Wow, she just sounds so big. Her sound is just so amazing. I always wanted to sound really big. So that was my first inspiration. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Is that common within saxophone players to call the baritone, “bari?” I just think that’s such a cute nickname. \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b> \u003cb> “\u003c/b>\u003cspan style=\"font-weight: 400\">Bari” sax is super common. And in high school, there was like actually a few of us, a few female bari sax players, and we call ourselves the ‘Bari Babes.’ Which I thought was super cute because it wasn’t very common to have female bari players, but in that one section of our city, of those high schools, it was pretty much only female bari sax players. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I had never seen a male bari sax player in a high school until I started to go to other high schools, like competitions and stuff. So it was almost kind of a club of us until I started to see the real world and notice there’s not a lot of us out there, actually. \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> For me, what makes you a bari sax player or what makes you a tenor and alto player if you choose to specialize in one, is the instrument that makes you feel the happiest. It’s the one that you feel like you can produce the best sound, the most controlled sound, the biggest, and even control it as much to get the smallest sound possible. And I just had the biggest skill set in my bari sax.\u003c/span>\u003cbr>\n[aside tag ='liner-notes' label= 'More From the Liner Notes Series' num='5']\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA: \u003c/b>\u003cspan style=\"font-weight: 400\">What it’s like to play for The Warriors and for a crowd like that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> Playing for The Warriors is just the funnest time! I actually broke my neck strap, the thing that holds your saxophone up around your neck. I was jumping around, playing my saxophone way too hard that I broke my neck strap twice. That’s how fun that gig is. Like, they let us jump, yell. They can we can literally yell “warriorsssss” like, as loud as we want to and it’s just the most beautiful energy. \u003c/span>\u003cspan style=\"font-weight: 400\">They have us playing Mac Dre. We play E-40. Like they have a really lovely repertoire that they give to us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA\u003c/b>\u003cspan style=\"font-weight: 400\">: Outside of playing and recording and collaborating, you are teaching music as well to K through to 5th grade students. And I saw this like really sweet TikTok video you made and the caption said, “When you become the queer androgynous Latina teacher you needed as a kid,” and then like, you’re in the background just like rocking and like your curls are just like, shaking. Can you say more about this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, so it was like a day where I was like, wow, you really have to take a step back and realize what you’re actually giving to the kids besides music, you know?\u003c/span> \u003cspan style=\"font-weight: 400\">One of the first classes I taught, I remember I went around in the name game was like, What’s your first name? And what is something you like about yourself? And I don’t I don’t actually remember anyone ever asking me that when I was little, “What’s something you love about yourself that you just, like, really dig? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what I love about myself is I love that I am very kind and I love my big, messy hair. And then it’s kinda the way I teach, and kind of just give that positivity everywhere else. like once you grow that seed of self esteem, they’ll get a branch, and then later on, they’ll actually have a full tree of self-esteem instead of adults constantly cutting them down. And I feel like for me, I just want to have a whole, you know, generation of trees because I’ve been teaching since 2016.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA\u003c/b>\u003cspan style=\"font-weight: 400\">: What message are you communicating through the music you’re performing? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> There is not a lot of bari sax players so I feel even more special and rare that I’m a female bari sax player. So that in itself gives me a lot of power and I feel like that’s what I like to exude when I’m playing. That’s the message is the power of being yourself so genuinely that it’s almost an act of revolution.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dimming one’s light in the face of haters is not something \u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> knows how to do. Whenever she gets comments from guys about her size or gender, the baritone player is quick to clap back with a joke and prove them wrong. \u003cspan style=\"font-weight: 400\">“When I’m playing my bari sax, I feel huge. I feel powerful. I feel seven feet tall. I feel like no one could tell me s**t. Like I feel so good about myself.”\u003c/span>\u003c/p>\n\u003cp>Lidia Rodriguez is a musical force performing and recording across genre. She gets down playing cumbia with \u003ca href=\"http://lamisanegra.squarespace.com/\">La Misa Negra\u003c/a>, rocks stages with electronic group \u003ca href=\"https://www.madamegandhi.com/\">Madame Gandhi\u003c/a>, and even goes dumb while performing with the Golden State Warriors brass band, the \u003ca href=\"https://www.instagram.com/baybluenotes/?hl=en\">Bay Blue Notes\u003c/a>.\u003c/p>\n\u003cp>Growing up in Mudville a.k.a Stockton, and later attending San Jose State, Lidia says she is a product of public music education. Now, as an educator herself, teaching bilingual music lessons, Lidia is not only training the next generation of musicians but also nurturing students to be self compassionate and authentically themselves.\u003c/p>\n\u003cp>On this week’s Rightnowish, Lidia Rodriguez talks about the power of showing up as her full self (a queer and Latina saxophonist) in music spaces and her mission to spread the power of “peace, love and sax.”\u003c/p>\n\u003cfigure id=\"attachment_13930578\" class=\"wp-caption alignnone\" style=\"max-width: 685px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930578 size-full\" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Photo-by-Patric-Carver-@pc.photo_.rock_.jpeg\" alt=\"Lidia is on stage in front of a mic stand with her flute and baritone saxophone on stands. Green stage light reflects off her curly hair\" width=\"685\" height=\"1023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Photo-by-Patric-Carver-@pc.photo_.rock_.jpeg 685w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Photo-by-Patric-Carver-@pc.photo_.rock_-160x239.jpeg 160w\" sizes=\"(max-width: 685px) 100vw, 685px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez on stage performing with the band, Madame Gandhi. \u003ccite>(Patric Carver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3Xi0oMz\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>Below are lightly edited excerpts of my conversation with Lidia Rodriguez.\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, the baritone sax is like such a unique instrument. For people who don’t know, it’s the biggest of all the saxophones. It’s like… plays the lower notes and it’s actually the heaviest. So like, why were you called to the baritone saxophone? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> I can remember wanting to play it because I actually saw another female. She was playing bari sax while my sister was in a jazz band. And I always thought, Wow, she just sounds so big. Her sound is just so amazing. I always wanted to sound really big. So that was my first inspiration. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA:\u003c/b>\u003cspan style=\"font-weight: 400\"> Is that common within saxophone players to call the baritone, “bari?” I just think that’s such a cute nickname. \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b> \u003cb> “\u003c/b>\u003cspan style=\"font-weight: 400\">Bari” sax is super common. And in high school, there was like actually a few of us, a few female bari sax players, and we call ourselves the ‘Bari Babes.’ Which I thought was super cute because it wasn’t very common to have female bari players, but in that one section of our city, of those high schools, it was pretty much only female bari sax players. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I had never seen a male bari sax player in a high school until I started to go to other high schools, like competitions and stuff. So it was almost kind of a club of us until I started to see the real world and notice there’s not a lot of us out there, actually. \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> For me, what makes you a bari sax player or what makes you a tenor and alto player if you choose to specialize in one, is the instrument that makes you feel the happiest. It’s the one that you feel like you can produce the best sound, the most controlled sound, the biggest, and even control it as much to get the smallest sound possible. And I just had the biggest skill set in my bari sax.\u003c/span>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA: \u003c/b>\u003cspan style=\"font-weight: 400\">What it’s like to play for The Warriors and for a crowd like that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> Playing for The Warriors is just the funnest time! I actually broke my neck strap, the thing that holds your saxophone up around your neck. I was jumping around, playing my saxophone way too hard that I broke my neck strap twice. That’s how fun that gig is. Like, they let us jump, yell. They can we can literally yell “warriorsssss” like, as loud as we want to and it’s just the most beautiful energy. \u003c/span>\u003cspan style=\"font-weight: 400\">They have us playing Mac Dre. We play E-40. Like they have a really lovely repertoire that they give to us. \u003c/span>\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA\u003c/b>\u003cspan style=\"font-weight: 400\">: Outside of playing and recording and collaborating, you are teaching music as well to K through to 5th grade students. And I saw this like really sweet TikTok video you made and the caption said, “When you become the queer androgynous Latina teacher you needed as a kid,” and then like, you’re in the background just like rocking and like your curls are just like, shaking. Can you say more about this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah, so it was like a day where I was like, wow, you really have to take a step back and realize what you’re actually giving to the kids besides music, you know?\u003c/span> \u003cspan style=\"font-weight: 400\">One of the first classes I taught, I remember I went around in the name game was like, What’s your first name? And what is something you like about yourself? And I don’t I don’t actually remember anyone ever asking me that when I was little, “What’s something you love about yourself that you just, like, really dig? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So what I love about myself is I love that I am very kind and I love my big, messy hair. And then it’s kinda the way I teach, and kind of just give that positivity everywhere else. like once you grow that seed of self esteem, they’ll get a branch, and then later on, they’ll actually have a full tree of self-esteem instead of adults constantly cutting them down. And I feel like for me, I just want to have a whole, you know, generation of trees because I’ve been teaching since 2016.\u003c/span>\u003c/p>\n\u003cp>\u003cb>MEDINA-CADENA\u003c/b>\u003cspan style=\"font-weight: 400\">: What message are you communicating through the music you’re performing? \u003c/span>\u003c/p>\n\u003cp>\u003cb>RODRIGUEZ:\u003c/b>\u003cspan style=\"font-weight: 400\"> There is not a lot of bari sax players so I feel even more special and rare that I’m a female bari sax player. So that in itself gives me a lot of power and I feel like that’s what I like to exude when I’m playing. That’s the message is the power of being yourself so genuinely that it’s almost an act of revolution.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death",
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"content": "\u003cp>The national tour of Broadway’s \u003cem>Tina — The Tina Turner Musical\u003c/em> makes its California debut this week, arriving as a poignant, \u003ca href=\"https://www.kqed.org/arts/13929587/tina-turner-rock-and-roll-icon-dies-at-83\">posthumous celebration\u003c/a> following the rock music icon’s death last month.\u003c/p>\n\u003cp>[aside postid='arts_13929587']\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>[aside postid='arts_13897052']The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>[aside postid='arts_13894392']“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Janelle Monáe Wants You ... to Enter the ‘Pleasure’ Zone",
"headTitle": "Janelle Monáe Wants You … to Enter the ‘Pleasure’ Zone | KQED",
"content": "\u003cp>In the already uncomfortably hot summer of 2023, talk of pleasure can hit like a forbidden tonic, providing relief from a steady diet of grief, outrage and anxiety. Janelle Monáe’s new album \u003cem>The Age of Pleasure\u003c/em> presents itself as both that stimulant and a guidebook, a compact compendium of fantasies and pep talks designed to encourage listeners to relax into the dopamine-rushed present tense.\u003c/p>\n\u003cp>“If I could f*** me right here right now I would do that,” the singer-actor-conceptualist turned libertine lifestyle coach sings in “Water Slide,” a reggaefied mid-record romp that plays with swimming metaphors — \u003cem>backstroke, freestyle, surfing on the thing like it’s high tide \u003c/em>— to invoke a tipsy kind of arousal that lingers delightfully, requiring no release. A floating feeling, like being drawn into a swimming pool’s lazy river. Or like getting intimate without an end goal in mind, in a safe space with someone you love. “I could spend the whole day in it,” Monáe swoons, and by “it” she means pleasure itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ag7Ul4U_dSI\u003c/p>\n\u003cp>In Monáe’s world pleasure means some obvious things — material comfort, self-love, carefully maintained ties with intimates and an open-ended approach to alluring strangers. Musically, these values find expression in a certain cadence, that \u003cem>clavé \u003c/em>groove that unfolds the way sexual excitement does, slowing time down and speeding it up all at once. Monáe and her collaborators in the Wondaland Arts Society ground \u003cem>The Age of Pleasure\u003c/em> in the complex yet accessible rhythms of \u003ca href=\"https://www.rollingstone.com/music/music-features/afrobeats-global-rise-1282575/\">Afrobeats\u003c/a> (some prefer Afropop), the diasporic dance music that shares sonic borders with global Latin pop and Caribbean riddims.\u003c/p>\n\u003cp>[aside postid='arts_13929970']Afrobeats is the ground of much current mainstream pop, recasting hip-hop on the global stage in ways that are both historically minded — the presence of Nigerian scion\u003ca href=\"https://www.seunkuti.net/\"> Seun Kuti \u003c/a>and Egypt 80 on this album accomplish that goal — and \u003cem>au courant\u003c/em>. Monáe queers the trend with lyrics that celebrate same-sex encounters and polyamory and by filling \u003cem>Pleasure\u003c/em>‘s songs with quick turns, interludes and echoes, creating a sinuous inflorescence evocative of many women’s responsive patterns and the polymorphous attention blur of a friendly orgy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If this sounds like a lot, Monáe and her collaborators make sure it goes down easy. \u003cem>The Age of Pleasure\u003c/em> is just over 30 minutes long and its structure is clean and tight. Supposedly an autobiographical departure from her previous character-driven concept albums, this neat set still displays an actor’s sensibility. It unfolds in three acts, with a bold opening, a complicated middle and a pleasing denouement. But unlike her earlier Cindi Mayweather trilogy, with its hugely detailed world-building and heady ideas about power, race and humanity itself, \u003cem>The Age of Pleasure \u003c/em>is contained, naturalistic and circular. It’s a round, a story that’s not linear but grounded in an ebb and flow, again like a woman’s sensuality — and in service of a utopian eroticism that runs on true mutual recognition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kEaclTJZCKc\u003c/p>\n\u003cp>True to her style and accommodating an instrument that’s more chameleonic than stunningly distinctive, Monáe puts on many voices throughout \u003cem>The Age of Pleasure\u003c/em>. The first four tracks are flexes, runway struts redolent of the ballroom (and, inevitably, Beyoncé’s \u003cem>Renaissance\u003c/em>). The dominant voice here is that of a haughty rapper who also likes to play. Monáe doesn’t walk, she floats; she’s on her champagne s***, phenomenal, so hot she’s \u003cem>haute\u003c/em>. This is the warm-up, the infusion of pride required to pursue pleasure without too much risk of being exploited. “I’m looking at a thousand versions of myself, and we’re all fine as f***,” Monáe spits over an avant-funk beat, ready to grab her besties and go on the prowl. Flipping a line from decadent \u003ca href=\"https://www.youtube.com/watch?v=EZiISc7Ej84&t=90s\">\u003cem>Euphoria\u003c/em>\u003c/a>, she speaks up for seductiveness as a strength instead of a destabilizing element.\u003c/p>\n\u003cp>[aside postid='arts_13930122']Her excursions occupy the album’s middle and most interesting section, a set of mid-tempo grooves that turn inward to describe a queer experience of pleasure. An interlude featuring Saint Grace Jones murmuring in French sets up the section; then comes “Lipstick Lover,” the summery reggae single that hovers in the air like a throwaway while establishing Monáe’s all-important perspective. “I like lipstick on my neck,” Monáe chants in the chorus, not only making clear that she wants queer fun but pointing toward erogenous zones that unseat Afropop and hip-hop’s \u003ca href=\"https://www.teenvogue.com/story/afrobeats-industry-needs-to-confront-its-bias-against-female-artists\">phallocentric tendencies\u003c/a>.\u003c/p>\n\u003cp>Even more effective is “The Rush,” its half time dancehall riddim and airy harmonies sounding like what being turned on feels like, steadily yet sneakily intensifying on a wave of Monáe’s murmurs with extra strokes from \u003ca href=\"https://www.npr.org/1180152530\">Amaarae\u003c/a> and Nia Long. “I get that \u003cem>feelin’\u003c/em>,” she repeats, redirecting her thought processes below her neck over a bed of what the credits describe as “percolating freaquencies.” Feeling becomes a way of thinking. Next comes “Water Slide,” its drenched metaphors accentuating the music’s body consciousness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jppx-EFJ818\u003c/p>\n\u003cp>The final turn in \u003cem>The Age of Pleasure \u003c/em>complicates pleasure by showing how it’s a two- (or three-) way street that can get a little bumpy. The insistence of “Know Better,” a lover’s plea built around densely multi-tracked vocals from Monáe and Nigerian crooner \u003ca href=\"https://www.youtube.com/watch?v=qNbAu0IZhKQ\">Ckay\u003c/a>, reminds the listener that pleasure demands consent. That song drifts right into “Paid In Pleasure,” a sticky allegory that lets in some perversion, turning sex’s sometimes transactional nature into a fetish. (Monáe’s early mentor Prince would have enjoyed this one.) Our sensual hero recovers her wits on the final two tracks — the adorable ode to throupling “Only Have Eyes 42,” which quotes a doo wop classic to swathe polyamory in innocence, and the brief, tender “A Dry Red,” which shows that Monaé can do yearning as convincingly as she can pose or purr, and begins the album’s cycle of awakening, pursuit and connection again.\u003c/p>\n\u003cp>[aside postid='arts_13927403']For all its narrative flair, \u003cem>The Age of Pleasure\u003c/em> is actually more about making space than telling a story, and that’s why this album is more instantly beguiling than her previous releases, whose high concepts could result in a certain chilliness. Monáe has called this space an oasis, and its sheltering vibes are paramount. The album’s rollout, via a \u003cem>Rolling Stone \u003c/em>cover and the \u003ca href=\"https://www.youtube.com/watch?v=Y7S6wLP_vsY\">“Lipstick Lover” video\u003c/a>, has centered on Wondaland West, the communal Los Angeles manse where Monáe is housemother, with its party-ready courtyard that \u003cem>Rolling Stone\u003c/em>‘s Mankaprr Conteh \u003ca href=\"https://www.rollingstone.com/music/music-features/janelle-monae-the-age-of-pleasure-album-interview-1234736254/\">described\u003c/a> as “magnificent, with its tranquil pool in the center and troves of nooks, crannies, outdoor baths, and citrus trees” — an Eden where slipping away with a special someone is as possible as joining in on a group hug. During lockdown, in collaboration with the diasporic roving party Everyday People, Monáe began hosting gatherings. \u003cem>The Age of Pleasure\u003c/em> reflects this communal experience, asserting that the only way pleasure can flower is in well-tended gardens where people can relax into themselves. For BIPOC and queer people, such places have often been difficult to find, and they are currently under siege. \u003cem>The Age of Pleasure \u003c/em>establishes its utopia to illuminate the need for more mundane versions of it to multiply.\u003c/p>\n\u003cp>The term “pleasure zone” has different meanings; it designates sensitive parts of the body, but also spaces where people can step outside the grind of their daily lives and play. Postmodern theory names certain characteristics of these spaces: They are sheltering, flexible and whimsical, allowing visitors to try on customarily unavailable modes of being. Access to such spaces has often been denied BIPOC and queer people; the history of the swimming pool, Monáe’s favorite metaphor, is stained with the blood of racist segregation. That’s why imagining — and creating — such oases matters so much, and why, for all its lightness, \u003cem>The Age of Pleasure\u003c/em> is profoundly political. As these songs move from Lagos polyrhythms to Atlanta \u003ca href=\"https://www.youtube.com/watch?v=vXmqauitBkM\">hip-hop horns\u003c/a> to variations on \u003ca href=\"https://www.youtube.com/watch?v=au7W8tbSFtU\">earlier pop twists\u003c/a> on dance floor innovation like executive producer Diddy’s long-lost project Dirty Money, \u003cem>The Age of Pleasure\u003c/em> conjures a dream of frictionless fluidity where any fantasy might be pursued, any identity embraced, safely. The myriad images of water add to the feeling of escaping gravity — and it’s definitely pool water, teal blue and protected from dangerous undertows, where a leg can press against a thigh on a floatie with no danger of pulling anyone under.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Janelle Monáe’s supreme ability to contain herself, to meld with the roles she takes on, is her main strength and shortcoming as a performer. She has achieved much as an actress by disappearing into roles that \u003ca href=\"https://www.netflix.com/tudum/articles/janelle-monae-character-glass-onion-costumes\">require her to don disguises\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=W3FxDJz_HDg\">help others disguise themselves\u003c/a>, keep secrets and find power \u003ca href=\"https://www.youtube.com/watch?v=lXz94_CRzAU\">on the margins\u003c/a>. Her music has sometimes lacked a strong charismatic center as she’s pursued different characters and plotlines. On \u003cem>The Age of Pleasure\u003c/em> she experiments with a new role — that of her own fine self, alive in a body and eager to feel as much as she can. This allows her to put aside the highly dramatic expressiveness to which she’s not suited and instead dwell in that liquid experience of suggestiveness and seduction where gestures speak louder than words. Monáe still seems to resist intense emotions — heartache, for example, doesn’t surface anywhere here, and despite all the kissing and licking and offers to keep her lovers coming, she doesn’t hit any orgasmic notes herself. Instead, she and the Wondaland crew offer an alternative to all that: a wet dream of a better world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Janelle+Mon%C3%A1e+wants+you+...+to+enter+the+%27Pleasure%27+zone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the already uncomfortably hot summer of 2023, talk of pleasure can hit like a forbidden tonic, providing relief from a steady diet of grief, outrage and anxiety. Janelle Monáe’s new album \u003cem>The Age of Pleasure\u003c/em> presents itself as both that stimulant and a guidebook, a compact compendium of fantasies and pep talks designed to encourage listeners to relax into the dopamine-rushed present tense.\u003c/p>\n\u003cp>“If I could f*** me right here right now I would do that,” the singer-actor-conceptualist turned libertine lifestyle coach sings in “Water Slide,” a reggaefied mid-record romp that plays with swimming metaphors — \u003cem>backstroke, freestyle, surfing on the thing like it’s high tide \u003c/em>— to invoke a tipsy kind of arousal that lingers delightfully, requiring no release. A floating feeling, like being drawn into a swimming pool’s lazy river. Or like getting intimate without an end goal in mind, in a safe space with someone you love. “I could spend the whole day in it,” Monáe swoons, and by “it” she means pleasure itself.\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/Ag7Ul4U_dSI'\n title='//www.youtube.com/embed/Ag7Ul4U_dSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Monáe’s world pleasure means some obvious things — material comfort, self-love, carefully maintained ties with intimates and an open-ended approach to alluring strangers. Musically, these values find expression in a certain cadence, that \u003cem>clavé \u003c/em>groove that unfolds the way sexual excitement does, slowing time down and speeding it up all at once. Monáe and her collaborators in the Wondaland Arts Society ground \u003cem>The Age of Pleasure\u003c/em> in the complex yet accessible rhythms of \u003ca href=\"https://www.rollingstone.com/music/music-features/afrobeats-global-rise-1282575/\">Afrobeats\u003c/a> (some prefer Afropop), the diasporic dance music that shares sonic borders with global Latin pop and Caribbean riddims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Afrobeats is the ground of much current mainstream pop, recasting hip-hop on the global stage in ways that are both historically minded — the presence of Nigerian scion\u003ca href=\"https://www.seunkuti.net/\"> Seun Kuti \u003c/a>and Egypt 80 on this album accomplish that goal — and \u003cem>au courant\u003c/em>. Monáe queers the trend with lyrics that celebrate same-sex encounters and polyamory and by filling \u003cem>Pleasure\u003c/em>‘s songs with quick turns, interludes and echoes, creating a sinuous inflorescence evocative of many women’s responsive patterns and the polymorphous attention blur of a friendly orgy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If this sounds like a lot, Monáe and her collaborators make sure it goes down easy. \u003cem>The Age of Pleasure\u003c/em> is just over 30 minutes long and its structure is clean and tight. Supposedly an autobiographical departure from her previous character-driven concept albums, this neat set still displays an actor’s sensibility. It unfolds in three acts, with a bold opening, a complicated middle and a pleasing denouement. But unlike her earlier Cindi Mayweather trilogy, with its hugely detailed world-building and heady ideas about power, race and humanity itself, \u003cem>The Age of Pleasure \u003c/em>is contained, naturalistic and circular. It’s a round, a story that’s not linear but grounded in an ebb and flow, again like a woman’s sensuality — and in service of a utopian eroticism that runs on true mutual recognition.\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/kEaclTJZCKc'\n title='//www.youtube.com/embed/kEaclTJZCKc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>True to her style and accommodating an instrument that’s more chameleonic than stunningly distinctive, Monáe puts on many voices throughout \u003cem>The Age of Pleasure\u003c/em>. The first four tracks are flexes, runway struts redolent of the ballroom (and, inevitably, Beyoncé’s \u003cem>Renaissance\u003c/em>). The dominant voice here is that of a haughty rapper who also likes to play. Monáe doesn’t walk, she floats; she’s on her champagne s***, phenomenal, so hot she’s \u003cem>haute\u003c/em>. This is the warm-up, the infusion of pride required to pursue pleasure without too much risk of being exploited. “I’m looking at a thousand versions of myself, and we’re all fine as f***,” Monáe spits over an avant-funk beat, ready to grab her besties and go on the prowl. Flipping a line from decadent \u003ca href=\"https://www.youtube.com/watch?v=EZiISc7Ej84&t=90s\">\u003cem>Euphoria\u003c/em>\u003c/a>, she speaks up for seductiveness as a strength instead of a destabilizing element.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her excursions occupy the album’s middle and most interesting section, a set of mid-tempo grooves that turn inward to describe a queer experience of pleasure. An interlude featuring Saint Grace Jones murmuring in French sets up the section; then comes “Lipstick Lover,” the summery reggae single that hovers in the air like a throwaway while establishing Monáe’s all-important perspective. “I like lipstick on my neck,” Monáe chants in the chorus, not only making clear that she wants queer fun but pointing toward erogenous zones that unseat Afropop and hip-hop’s \u003ca href=\"https://www.teenvogue.com/story/afrobeats-industry-needs-to-confront-its-bias-against-female-artists\">phallocentric tendencies\u003c/a>.\u003c/p>\n\u003cp>Even more effective is “The Rush,” its half time dancehall riddim and airy harmonies sounding like what being turned on feels like, steadily yet sneakily intensifying on a wave of Monáe’s murmurs with extra strokes from \u003ca href=\"https://www.npr.org/1180152530\">Amaarae\u003c/a> and Nia Long. “I get that \u003cem>feelin’\u003c/em>,” she repeats, redirecting her thought processes below her neck over a bed of what the credits describe as “percolating freaquencies.” Feeling becomes a way of thinking. Next comes “Water Slide,” its drenched metaphors accentuating the music’s body consciousness.\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/jppx-EFJ818'\n title='//www.youtube.com/embed/jppx-EFJ818'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final turn in \u003cem>The Age of Pleasure \u003c/em>complicates pleasure by showing how it’s a two- (or three-) way street that can get a little bumpy. The insistence of “Know Better,” a lover’s plea built around densely multi-tracked vocals from Monáe and Nigerian crooner \u003ca href=\"https://www.youtube.com/watch?v=qNbAu0IZhKQ\">Ckay\u003c/a>, reminds the listener that pleasure demands consent. That song drifts right into “Paid In Pleasure,” a sticky allegory that lets in some perversion, turning sex’s sometimes transactional nature into a fetish. (Monáe’s early mentor Prince would have enjoyed this one.) Our sensual hero recovers her wits on the final two tracks — the adorable ode to throupling “Only Have Eyes 42,” which quotes a doo wop classic to swathe polyamory in innocence, and the brief, tender “A Dry Red,” which shows that Monaé can do yearning as convincingly as she can pose or purr, and begins the album’s cycle of awakening, pursuit and connection again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For all its narrative flair, \u003cem>The Age of Pleasure\u003c/em> is actually more about making space than telling a story, and that’s why this album is more instantly beguiling than her previous releases, whose high concepts could result in a certain chilliness. Monáe has called this space an oasis, and its sheltering vibes are paramount. The album’s rollout, via a \u003cem>Rolling Stone \u003c/em>cover and the \u003ca href=\"https://www.youtube.com/watch?v=Y7S6wLP_vsY\">“Lipstick Lover” video\u003c/a>, has centered on Wondaland West, the communal Los Angeles manse where Monáe is housemother, with its party-ready courtyard that \u003cem>Rolling Stone\u003c/em>‘s Mankaprr Conteh \u003ca href=\"https://www.rollingstone.com/music/music-features/janelle-monae-the-age-of-pleasure-album-interview-1234736254/\">described\u003c/a> as “magnificent, with its tranquil pool in the center and troves of nooks, crannies, outdoor baths, and citrus trees” — an Eden where slipping away with a special someone is as possible as joining in on a group hug. During lockdown, in collaboration with the diasporic roving party Everyday People, Monáe began hosting gatherings. \u003cem>The Age of Pleasure\u003c/em> reflects this communal experience, asserting that the only way pleasure can flower is in well-tended gardens where people can relax into themselves. For BIPOC and queer people, such places have often been difficult to find, and they are currently under siege. \u003cem>The Age of Pleasure \u003c/em>establishes its utopia to illuminate the need for more mundane versions of it to multiply.\u003c/p>\n\u003cp>The term “pleasure zone” has different meanings; it designates sensitive parts of the body, but also spaces where people can step outside the grind of their daily lives and play. Postmodern theory names certain characteristics of these spaces: They are sheltering, flexible and whimsical, allowing visitors to try on customarily unavailable modes of being. Access to such spaces has often been denied BIPOC and queer people; the history of the swimming pool, Monáe’s favorite metaphor, is stained with the blood of racist segregation. That’s why imagining — and creating — such oases matters so much, and why, for all its lightness, \u003cem>The Age of Pleasure\u003c/em> is profoundly political. As these songs move from Lagos polyrhythms to Atlanta \u003ca href=\"https://www.youtube.com/watch?v=vXmqauitBkM\">hip-hop horns\u003c/a> to variations on \u003ca href=\"https://www.youtube.com/watch?v=au7W8tbSFtU\">earlier pop twists\u003c/a> on dance floor innovation like executive producer Diddy’s long-lost project Dirty Money, \u003cem>The Age of Pleasure\u003c/em> conjures a dream of frictionless fluidity where any fantasy might be pursued, any identity embraced, safely. The myriad images of water add to the feeling of escaping gravity — and it’s definitely pool water, teal blue and protected from dangerous undertows, where a leg can press against a thigh on a floatie with no danger of pulling anyone under.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Janelle Monáe’s supreme ability to contain herself, to meld with the roles she takes on, is her main strength and shortcoming as a performer. She has achieved much as an actress by disappearing into roles that \u003ca href=\"https://www.netflix.com/tudum/articles/janelle-monae-character-glass-onion-costumes\">require her to don disguises\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=W3FxDJz_HDg\">help others disguise themselves\u003c/a>, keep secrets and find power \u003ca href=\"https://www.youtube.com/watch?v=lXz94_CRzAU\">on the margins\u003c/a>. Her music has sometimes lacked a strong charismatic center as she’s pursued different characters and plotlines. On \u003cem>The Age of Pleasure\u003c/em> she experiments with a new role — that of her own fine self, alive in a body and eager to feel as much as she can. This allows her to put aside the highly dramatic expressiveness to which she’s not suited and instead dwell in that liquid experience of suggestiveness and seduction where gestures speak louder than words. Monáe still seems to resist intense emotions — heartache, for example, doesn’t surface anywhere here, and despite all the kissing and licking and offers to keep her lovers coming, she doesn’t hit any orgasmic notes herself. Instead, she and the Wondaland crew offer an alternative to all that: a wet dream of a better world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Janelle+Mon%C3%A1e+wants+you+...+to+enter+the+%27Pleasure%27+zone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Liner Notes: Jazz Advocate, Greg Bridges",
"headTitle": "Liner Notes: Jazz Advocate, Greg Bridges | KQED",
"content": "\u003cp>Welcome to the first episode of Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. We’re starting this off with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz, \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. As a reoccurring host of events like the San Jose Jazz Festival, he also has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cfigure id=\"attachment_13930285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930285 size-medium\" title=\"Pendarvis Harshaw\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GregBridges-800x534.jpg\" alt=\"Greg Bridges, out in community at the 2013 Life is Living Festival in West Oakland. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges, out in community at the 2013 Life is Living Festival in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His father, \u003cspan style=\"font-weight: 400\">Oliver Johnson, played the drums with other notable musicians like Bobby Hutcherson, Dexter Gordon and Pharaoh Sanders. \u003c/span>\u003cspan style=\"font-weight: 400\">Now the musical legacy continues as Greg’s \u003c/span>children, Simone a.k.a. \u003ca href=\"https://www.instagram.com/nappy_nina/?hl=en\" target=\"_blank\" rel=\"noopener\">Nappy Nina\u003c/a> is a hip-hop artist, and his son Miles a.k.a. Théo Mode is a guitarist in the grunge punk band \u003ca href=\"https://www.instagram.com/webabyfang/?hl=en\" target=\"_blank\" rel=\"noopener\">babyfang.\u003c/a>\u003c/p>\n\u003cp>In this episode, Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay, he also shares some of the stories behind key cultural institutions and the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3ChSR6M\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>Below are lightly edited excerpts of my conversation with Greg Bridges\u003c/p>\n\u003cp>HARSHAW: The “jazz voice.” When did you know that you had the “jazz voice?”\u003c/p>\n\u003cp>GREG BRIDGES, GUEST: I didn’t really know that I had, like a “jazz voice” per say. When I was in high school, I’d get comments that maybe I sounded older than I was.\u003cbr>\nEven as a kid, I wanted to work in radio, and most of my heroes were cats that were on like KDIA, KBLX, the old KSOL, KSAN, things like that and I would hear them and try and imitate some of them. You know, cats like Nick Harper, “Big Daddy” Roy Lee Freeman.\u003c/p>\n\u003cp>You know, I guess through imitating them I kind of developed a little something.\u003c/p>\n\u003cp>HARSHAW: What is it that makes the Bay Area’s jazz scene unique?\u003c/p>\n\u003cp>BRIDGES: There’s a bit of everything here, you know, everything that goes into jazz. There is, of course, you know the Black and the African-American experience that’s here. There’s also the Cuban influences, the Latin Influences, the Asian-American influences. There’s so much, so many different flavors here in the Bay Area and it all comes together, to make its own individual space or to blend in and create something totally new.\u003c/p>\n\u003cp>[aside tag ='liner-notes' label= 'More From the Liner Notes Series' num='5']\u003c/p>\n\u003cp>HARSHAW: With that said, since there are so many different flavors and angles and ways people take this thing called “jazz,” what is your definition of jazz?\u003c/p>\n\u003cp>BRIDGES: Freedom. Because even though musicians, you know, they learn their instruments, they learn their craft, they learn the theory of music. There is still a freedom of expression that there aren’t real rules for. There aren’t real boundaries. For me, jazz and what It stands for is freedom.\u003c/p>\n\u003cp>HARSHAW: You as a DJ, as a host, as a journalist, what’s your responsibility to the Bay Area’s jazz scene?\u003c/p>\n\u003cp>BRIDGES: I feel that my responsibility is to make sure that artists get heard, to make sure that people know who these artists are that they’re listening to. To know how, when and where they can see them and pick up the music.\u003c/p>\n\u003cp>My responsibility is to continue talking about this music, man, you know?\u003c/p>\n\u003cp>HARSHAW: The old saying is, what’s that, beating the drum?\u003c/p>\n\u003cp>BRIDGES: Beating the drum\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to the first episode of Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. We’re starting this off with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz, \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. As a reoccurring host of events like the San Jose Jazz Festival, he also has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cfigure id=\"attachment_13930285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930285 size-medium\" title=\"Pendarvis Harshaw\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GregBridges-800x534.jpg\" alt=\"Greg Bridges, out in community at the 2013 Life is Living Festival in West Oakland. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GregBridges.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges, out in community at the 2013 Life is Living Festival in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His father, \u003cspan style=\"font-weight: 400\">Oliver Johnson, played the drums with other notable musicians like Bobby Hutcherson, Dexter Gordon and Pharaoh Sanders. \u003c/span>\u003cspan style=\"font-weight: 400\">Now the musical legacy continues as Greg’s \u003c/span>children, Simone a.k.a. \u003ca href=\"https://www.instagram.com/nappy_nina/?hl=en\" target=\"_blank\" rel=\"noopener\">Nappy Nina\u003c/a> is a hip-hop artist, and his son Miles a.k.a. Théo Mode is a guitarist in the grunge punk band \u003ca href=\"https://www.instagram.com/webabyfang/?hl=en\" target=\"_blank\" rel=\"noopener\">babyfang.\u003c/a>\u003c/p>\n\u003cp>In this episode, Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay, he also shares some of the stories behind key cultural institutions and the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3ChSR6M\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>Below are lightly edited excerpts of my conversation with Greg Bridges\u003c/p>\n\u003cp>HARSHAW: The “jazz voice.” When did you know that you had the “jazz voice?”\u003c/p>\n\u003cp>GREG BRIDGES, GUEST: I didn’t really know that I had, like a “jazz voice” per say. When I was in high school, I’d get comments that maybe I sounded older than I was.\u003cbr>\nEven as a kid, I wanted to work in radio, and most of my heroes were cats that were on like KDIA, KBLX, the old KSOL, KSAN, things like that and I would hear them and try and imitate some of them. You know, cats like Nick Harper, “Big Daddy” Roy Lee Freeman.\u003c/p>\n\u003cp>You know, I guess through imitating them I kind of developed a little something.\u003c/p>\n\u003cp>HARSHAW: What is it that makes the Bay Area’s jazz scene unique?\u003c/p>\n\u003cp>BRIDGES: There’s a bit of everything here, you know, everything that goes into jazz. There is, of course, you know the Black and the African-American experience that’s here. There’s also the Cuban influences, the Latin Influences, the Asian-American influences. There’s so much, so many different flavors here in the Bay Area and it all comes together, to make its own individual space or to blend in and create something totally new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>HARSHAW: With that said, since there are so many different flavors and angles and ways people take this thing called “jazz,” what is your definition of jazz?\u003c/p>\n\u003cp>BRIDGES: Freedom. Because even though musicians, you know, they learn their instruments, they learn their craft, they learn the theory of music. There is still a freedom of expression that there aren’t real rules for. There aren’t real boundaries. For me, jazz and what It stands for is freedom.\u003c/p>\n\u003cp>HARSHAW: You as a DJ, as a host, as a journalist, what’s your responsibility to the Bay Area’s jazz scene?\u003c/p>\n\u003cp>BRIDGES: I feel that my responsibility is to make sure that artists get heard, to make sure that people know who these artists are that they’re listening to. To know how, when and where they can see them and pick up the music.\u003c/p>\n\u003cp>My responsibility is to continue talking about this music, man, you know?\u003c/p>\n\u003cp>HARSHAW: The old saying is, what’s that, beating the drum?\u003c/p>\n\u003cp>BRIDGES: Beating the drum\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. Through five conversations with key players in the scene, we gain some insight into the past and present of jazz in the Bay Area.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cfigure id=\"attachment_13930276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930276 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png\" alt=\"Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting his jazz radio show. He is holding a cd case and reading the track list. \" width=\"800\" height=\"439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1020x560.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1536x843.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-2048x1124.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1920x1054.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting a jazz radio show. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Greg Bridges, Jazz Radio Host and Journalist\u003c/strong>\u003c/p>\n\u003cp>We start with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz in the Bay: \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. And as a reoccurring host of events like the San Jose Jazz Festival, he has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cp>In this episode Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay. He also shares the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cfigure id=\"attachment_13930297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930297 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg\" alt=\"Lidia Rodriguez is poses with her baritone saxophone. She looks off camera and in her left hand holds a succulent in a skeleton-themed pot. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez is a prominent baritone saxophone player based in San Jose by way of Stockton. She’s on a mission to spread peace and love through her instrument one show at a time. \u003ccite>(Via Lidia Rodriguez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cb>\u003cbr>\nLidia Rodriguez, Baritone Saxophonist and Music Educator \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> is a premier baritone saxophone player who grew up in Mudville a.k.a. Stockton, CA. Now based in San Jose, Lidia teaches music education to K-5th grade students, helping young people discover the joys of playing instruments, and practice self-love and self-expression. In the evenings, Lidia can be found playing shows with a number of bands, including the Golden State Warriors’ jazz band, the Bay Blue Notes, and the percussive electronic artist Madame Gandhi.\u003c/p>\n\u003cp>In case you didn’t know, the baritone saxophone stands out among the other saxophones because it’s the biggest in size and plays the lowest notes. Lidia’s big personality and big curly hair are a perfect match for the baritone saxophone— together they command audience attention. To watch Lidia on the “bari sax” is to witness an artist be totally in sync with an instrument. Real talk, Lidia can go dumb playing Mac Dre on the sax.\u003c/p>\n\u003cp>In this episode, Lidia shares with us her journey from being a cantankerous kid who once took all the screws out of a flute, to an adult who shuts down machismo in the music scene, all while becoming a rockstar educator and performer.\u003c/p>\n\u003cfigure id=\"attachment_13930304\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930304 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg\" alt=\"Dr. Angela Wellman wears a graduation cap and gown as she receives her PHD. \" width=\"415\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-800x1531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-160x306.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-768x1470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-803x1536.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1.jpg 1070w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Angela Wellman celebrates her 2023 graduation. \u003ccite>(Via Dr. Angela Wellman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8994929597&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nDr. Angela Wellman, Trombonist and Music Education Activist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/wellmanangela/\" target=\"_blank\" rel=\"noopener\">Dr. Angela Wellman’s\u003c/a> musical journey traces back to her upbringing in Kansas City, MO. As a young person involved in a music training initiative that was backed by the CETA (Comprehensive Employment and Training Act) program, she found the trombone– or rather, it found her.\u003c/p>\n\u003cp>In 2005, after music carried her around the map, Angela founded the \u003ca href=\"https://opcclasses.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music \u003c/a>as a way to assist Black and brown kids in accessing musical education. Now, after receiving numerous accolades for her work, including the National Endowment for the Arts Jazz Study Fellowship and being inducted into the Alameda County Women’s Hall of Fame, Dr. Wellman recently completed her doctorate degree in education. The focus of her dissertation: the importance of access to music for Black and brown children.\u003c/p>\n\u003cfigure id=\"attachment_13930308\" class=\"wp-caption aligncenter\" style=\"max-width: 439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930308 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg\" alt=\"A black and white photo of musician Giulio Xavier Cetto playing an upright bass.\" width=\"439\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-160x213.jpg 160w\" sizes=\"(max-width: 439px) 100vw, 439px\">\u003cfigcaption class=\"wp-caption-text\">Between touring and recording with notable musicians, bass player Giulio Xavier Cetto composes original music for his band Big Trippin. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3420729776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Giulio Xavier Cetto, Bass player and Composer\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Raised in musical family, \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto’s\u003c/a> musical influences range from his Venezuelan-Italian heritage to Bay Area rap. Giulio can play multiple styles and genres with ease, but at the intersection of jazz and hip hop is where his artistry truly shines. He brings an electric energy to his performances, encouraging audiences to not only vibe, but to get up and dance.\u003c/p>\n\u003cp>Playing tribute to these genres, Giulio hosts and performs at a reoccurring “Sunday Slaps” night at San Francisco’s beloved jazz venue, Black Cat. He also curates a weekly jazz set at Golden Gate Park’s Stowe Lake Boathouse.\u003c/p>\n\u003cp>Between gigging and recording with notable musicians including Kev Choice, Spelling, Kassa Overall, and Fantastic Negrito, he leads and composes original music for his own jazz band, Big Trippin. On their debut album, which drops this year, you can hear Giulio’s passion for jazz and hip hop.\u003c/p>\n\u003cp>On Rightnowish, Giulio talks about his favorite San Francisco venues to perform in, how the synthesis between jazz and hip-hop shape his sound and why the bass (upright and electric) is the heart of music.\u003c/p>\n\u003cfigure id=\"attachment_13930309\" class=\"wp-caption alignnone\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930309 \" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg\" alt=\"Elena Pinderhughes, an extremely talented flutist and vocalist from Berkeley, is pictured in a stylish brown and beige jacket and mocha shirt, hoop earrings and braids as she poses for a photo. \" width=\"486\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes is an extremely talented flutist and vocalist from Berkeley. \u003ccite>(Darrin Baldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9039639824&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nElena Pinderhughes, Vocalist and Flutist \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/iamelena/\" target=\"_blank\" rel=\"noopener\">Elena Pinderhughes\u003c/a> has been around the East Bay jazz scene since before she learned how to walk. After recording her first published work as a kid, she has gone on to share stages with Herbie Hancock and work with Carlos Santana. She’s also played NPR’s Tiny Desk with Chief Xian aTunde Adjuah (formerly Christian Scott) and even rocked on stage at Coachella with Future.\u003c/p>\n\u003cp>But Elena says she wouldn’t be where she is today without family support and the musical institutions of the East Bay. While working with her brother, pianist and vocalist Samora Pinderhughes, assisted her growth at home, organizations like the \u003ca href=\"https://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a> aided her progress in the community.\u003c/p>\n\u003cp>Elena is preparing for the next iteration of her career, relying on the tools given to her by the Bay Area’s multi-talented musical community, as she moves into the world of scoring films, making R&B music and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to Liner Notes, the Rightnowish podcast series all about jazz in the Bay Area. Through five conversations with key players in the scene, we gain some insight into the past and present of jazz in the Bay Area.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cfigure id=\"attachment_13930276\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930276 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png\" alt=\"Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting his jazz radio show. He is holding a cd case and reading the track list. \" width=\"800\" height=\"439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-800x439.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1020x560.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-768x422.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1536x843.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-2048x1124.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screenshot-2023-06-08-at-9.39.18-AM-1920x1054.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Bridges is photographed in black and white as he sits behind a microphone and soundboard at KPFA studios in Berkeley, while hosting a jazz radio show. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4300364745&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Greg Bridges, Jazz Radio Host and Journalist\u003c/strong>\u003c/p>\n\u003cp>We start with a conversation with someone who has a wealth of knowledge, especially when it comes to jazz in the Bay: \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges.\u003c/a>\u003c/p>\n\u003cp>As a journalist and longtime radio host at Bay Area radio stations KCSM and KPFA, Greg is steeped in Bay Area jazz history. And as a reoccurring host of events like the San Jose Jazz Festival, he has his finger on the current pulse of the culture. But this isn’t just a career choice, he was born into the world of jazz.\u003c/p>\n\u003cp>In this episode Greg shares some family history and gives us the lay of the land when it comes to jazz in the Bay. He also shares the secret ingredient that makes the Bay Area’s jazz scene unique.\u003c/p>\n\u003cfigure id=\"attachment_13930297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930297 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg\" alt=\"Lidia Rodriguez is poses with her baritone saxophone. She looks off camera and in her left hand holds a succulent in a skeleton-themed pot. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/IMG_3040-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lidia Rodriguez is a prominent baritone saxophone player based in San Jose by way of Stockton. She’s on a mission to spread peace and love through her instrument one show at a time. \u003ccite>(Via Lidia Rodriguez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2510938176&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cb>\u003cbr>\nLidia Rodriguez, Baritone Saxophonist and Music Educator \u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.lidiapeacelovesax.com/\">Lidia Rodriguez\u003c/a> is a premier baritone saxophone player who grew up in Mudville a.k.a. Stockton, CA. Now based in San Jose, Lidia teaches music education to K-5th grade students, helping young people discover the joys of playing instruments, and practice self-love and self-expression. In the evenings, Lidia can be found playing shows with a number of bands, including the Golden State Warriors’ jazz band, the Bay Blue Notes, and the percussive electronic artist Madame Gandhi.\u003c/p>\n\u003cp>In case you didn’t know, the baritone saxophone stands out among the other saxophones because it’s the biggest in size and plays the lowest notes. Lidia’s big personality and big curly hair are a perfect match for the baritone saxophone— together they command audience attention. To watch Lidia on the “bari sax” is to witness an artist be totally in sync with an instrument. Real talk, Lidia can go dumb playing Mac Dre on the sax.\u003c/p>\n\u003cp>In this episode, Lidia shares with us her journey from being a cantankerous kid who once took all the screws out of a flute, to an adult who shuts down machismo in the music scene, all while becoming a rockstar educator and performer.\u003c/p>\n\u003cfigure id=\"attachment_13930304\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930304 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg\" alt=\"Dr. Angela Wellman wears a graduation cap and gown as she receives her PHD. \" width=\"415\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-1020x1952.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-800x1531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-160x306.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-768x1470.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1-803x1536.jpg 803w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/AMW-graduation-1.jpg 1070w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Angela Wellman celebrates her 2023 graduation. \u003ccite>(Via Dr. Angela Wellman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8994929597&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nDr. Angela Wellman, Trombonist and Music Education Activist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/wellmanangela/\" target=\"_blank\" rel=\"noopener\">Dr. Angela Wellman’s\u003c/a> musical journey traces back to her upbringing in Kansas City, MO. As a young person involved in a music training initiative that was backed by the CETA (Comprehensive Employment and Training Act) program, she found the trombone– or rather, it found her.\u003c/p>\n\u003cp>In 2005, after music carried her around the map, Angela founded the \u003ca href=\"https://opcclasses.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Oakland Public Conservatory of Music \u003c/a>as a way to assist Black and brown kids in accessing musical education. Now, after receiving numerous accolades for her work, including the National Endowment for the Arts Jazz Study Fellowship and being inducted into the Alameda County Women’s Hall of Fame, Dr. Wellman recently completed her doctorate degree in education. The focus of her dissertation: the importance of access to music for Black and brown children.\u003c/p>\n\u003cfigure id=\"attachment_13930308\" class=\"wp-caption aligncenter\" style=\"max-width: 439px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930308 \" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg\" alt=\"A black and white photo of musician Giulio Xavier Cetto playing an upright bass.\" width=\"439\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/photo-by-Donovan-Washington-160x213.jpg 160w\" sizes=\"(max-width: 439px) 100vw, 439px\">\u003cfigcaption class=\"wp-caption-text\">Between touring and recording with notable musicians, bass player Giulio Xavier Cetto composes original music for his band Big Trippin. \u003ccite>(Donovan Washington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3420729776&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Giulio Xavier Cetto, Bass player and Composer\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Raised in musical family, \u003ca href=\"https://www.giulioxaviercetto.com/\">Giulio Xavier Cetto’s\u003c/a> musical influences range from his Venezuelan-Italian heritage to Bay Area rap. Giulio can play multiple styles and genres with ease, but at the intersection of jazz and hip hop is where his artistry truly shines. He brings an electric energy to his performances, encouraging audiences to not only vibe, but to get up and dance.\u003c/p>\n\u003cp>Playing tribute to these genres, Giulio hosts and performs at a reoccurring “Sunday Slaps” night at San Francisco’s beloved jazz venue, Black Cat. He also curates a weekly jazz set at Golden Gate Park’s Stowe Lake Boathouse.\u003c/p>\n\u003cp>Between gigging and recording with notable musicians including Kev Choice, Spelling, Kassa Overall, and Fantastic Negrito, he leads and composes original music for his own jazz band, Big Trippin. On their debut album, which drops this year, you can hear Giulio’s passion for jazz and hip hop.\u003c/p>\n\u003cp>On Rightnowish, Giulio talks about his favorite San Francisco venues to perform in, how the synthesis between jazz and hip-hop shape his sound and why the bass (upright and electric) is the heart of music.\u003c/p>\n\u003cfigure id=\"attachment_13930309\" class=\"wp-caption alignnone\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13930309 \" style=\"background-color: transparent;font-weight: bold;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg\" alt=\"Elena Pinderhughes, an extremely talented flutist and vocalist from Berkeley, is pictured in a stylish brown and beige jacket and mocha shirt, hoop earrings and braids as she poses for a photo. \" width=\"486\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Elena-3-1920x1920.jpg 1920w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Elena Pinderhughes is an extremely talented flutist and vocalist from Berkeley. \u003ccite>(Darrin Baldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC9039639824&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003cstrong>\u003cbr>\nElena Pinderhughes, Vocalist and Flutist \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/iamelena/\" target=\"_blank\" rel=\"noopener\">Elena Pinderhughes\u003c/a> has been around the East Bay jazz scene since before she learned how to walk. After recording her first published work as a kid, she has gone on to share stages with Herbie Hancock and work with Carlos Santana. She’s also played NPR’s Tiny Desk with Chief Xian aTunde Adjuah (formerly Christian Scott) and even rocked on stage at Coachella with Future.\u003c/p>\n\u003cp>But Elena says she wouldn’t be where she is today without family support and the musical institutions of the East Bay. While working with her brother, pianist and vocalist Samora Pinderhughes, assisted her growth at home, organizations like the \u003ca href=\"https://www.youngmusiciansco.org/\" target=\"_blank\" rel=\"noopener\">Young Musicians Choral Orchestra\u003c/a> aided her progress in the community.\u003c/p>\n\u003cp>Elena is preparing for the next iteration of her career, relying on the tools given to her by the Bay Area’s multi-talented musical community, as she moves into the world of scoring films, making R&B music and more.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Terence Blanchard, Award-Winning Musician and Composer, to Lead SFJAZZ",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/terence_blanchard\">Terence Blanchard\u003c/a>, an Academy Award-nominated and Grammy-winning jazz musician and composer, will be the new executive artistic director at SFJAZZ, the organization announced June 8.\u003c/p>\n\u003cp>Known for his rich and lively film scores, which have appeared in notable Spike Lee films like \u003cem>Da 5 Bloods\u003c/em> and \u003cem>BlacKkKlansman\u003c/em>, Blanchard has carved out an indelible presence within the contemporary jazz scene. In 2021, he was the first Black composer to have an opera staged at the Metropolitan Opera, breaking a long legacy of exclusion.[aside postid='arts_13928699']\u003c/p>\n\u003cp>Blanchard will succeed SFJAZZ executive artistic director and founder \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline, who plans to step down\u003c/a> from his role in November. Blanchard will lead the organization’s artistic programming, with duties including planning year-round concerts, community engagement events and educational opportunities.\u003c/p>\n\u003cp>Blanchard will also head the organization’s creative direction, with a goal of ushering in a new era of forward-thinking artistry. In a \u003ca href=\"https://www.youtube.com/watch?v=IIDG4GkqrhE\">2021 conversation with writer Hua Hsu\u003c/a>, Blanchard discussed the roles jazz greats John Coltrane and Thelonious Monk have had in his development as a musician. “But I’m not trying to be them,” said Blanchard. “I’m trying to find the sound for my generation.”\u003c/p>\n\u003cfigure id=\"attachment_13930243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg\" alt=\"a Black man with black glasses in a denim jacket stands in a window, you can see the letters spelling 'SFJAZZ' on the building behind him\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Incoming SFJAZZ Executive Artistic Director Terence Blanchard at SFJAZZ Center in San Francisco. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dedicated to honoring the traditions of jazz music and its importance in Black culture and history, Blanchard is also looking towards the ways the genre is evolving and expanding — and incorporating that into SFJAZZ programming. In the announcement, Blanchard discussed his plans for the role: “I am looking forward to collaborating with the staff while also bringing my own ideas about how to move our music forward and continue the SFJAZZ mission to explore the full spectrum of jazz — from its origins to its diverse and evolving expressions around the world today.”\u003c/p>\n\u003cp>Terence Blanchard will join SFJAZZ for its \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2023-summer-season/\">40th San Francisco Jazz Festival\u003c/a>, which began June 7, as well as its \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2023-24-season/\">2023-2024\u003c/a> season, which begins Sept. 7.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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 fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The acclaimed trumpeter will succeed SFJAZZ founder Randall Kline, who plans to step down from his role in November.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/terence_blanchard\">Terence Blanchard\u003c/a>, an Academy Award-nominated and Grammy-winning jazz musician and composer, will be the new executive artistic director at SFJAZZ, the organization announced June 8.\u003c/p>\n\u003cp>Known for his rich and lively film scores, which have appeared in notable Spike Lee films like \u003cem>Da 5 Bloods\u003c/em> and \u003cem>BlacKkKlansman\u003c/em>, Blanchard has carved out an indelible presence within the contemporary jazz scene. In 2021, he was the first Black composer to have an opera staged at the Metropolitan Opera, breaking a long legacy of exclusion.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blanchard will succeed SFJAZZ executive artistic director and founder \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">Randall Kline, who plans to step down\u003c/a> from his role in November. Blanchard will lead the organization’s artistic programming, with duties including planning year-round concerts, community engagement events and educational opportunities.\u003c/p>\n\u003cp>Blanchard will also head the organization’s creative direction, with a goal of ushering in a new era of forward-thinking artistry. In a \u003ca href=\"https://www.youtube.com/watch?v=IIDG4GkqrhE\">2021 conversation with writer Hua Hsu\u003c/a>, Blanchard discussed the roles jazz greats John Coltrane and Thelonious Monk have had in his development as a musician. “But I’m not trying to be them,” said Blanchard. “I’m trying to find the sound for my generation.”\u003c/p>\n\u003cfigure id=\"attachment_13930243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg\" alt=\"a Black man with black glasses in a denim jacket stands in a window, you can see the letters spelling 'SFJAZZ' on the building behind him\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/SFJAZZ-Executive-Artistic-Director-Terence-Blanchard-at-SFJAZZ-Center-in-San-Francisco-CA.-Photo-credit-Scott-Chernis.-2-scaled.jpeg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Incoming SFJAZZ Executive Artistic Director Terence Blanchard at SFJAZZ Center in San Francisco. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dedicated to honoring the traditions of jazz music and its importance in Black culture and history, Blanchard is also looking towards the ways the genre is evolving and expanding — and incorporating that into SFJAZZ programming. In the announcement, Blanchard discussed his plans for the role: “I am looking forward to collaborating with the staff while also bringing my own ideas about how to move our music forward and continue the SFJAZZ mission to explore the full spectrum of jazz — from its origins to its diverse and evolving expressions around the world today.”\u003c/p>\n\u003cp>Terence Blanchard will join SFJAZZ for its \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2023-summer-season/\">40th San Francisco Jazz Festival\u003c/a>, which began June 7, as well as its \u003ca href=\"https://www.sfjazz.org/tickets/seasons-series/2023-24-season/\">2023-2024\u003c/a> season, which begins Sept. 7.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/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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"title": "At Hip Hop For Change, Two New Creative Studios and a Seismic Shift",
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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\">That’s My Word\u003c/a>, 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>There’s a new creative hub blossoming between auto shops and construction businesses in San Francisco’s Bayview-Hunters Point. On a recent afternoon, \u003ca href=\"https://www.hiphopforchange.org/\">Hip Hop For Change\u003c/a>’s education director Marlon Richardson beams with excitement as he walks us through the 1,200-square-foot studio, which will soon come alive with possibilities: a recording space for music and podcasts; a lighting set-up for photography and video shoots; a screen-printing press for artist merch.\u003c/p>\n\u003cp>On June 26, Hip Hop For Change’s new San Francisco studio will be ready to welcome the thousands of children and young people the organization serves every year, plus local artists from its staff and the surrounding community. A second studio is coming soon to the organization’s North Oakland headquarters. And other developments are on the horizon, including a 24/7 online radio station and Pipeline 2 Positivity, a paid internship program for system-impacted youth to get training in artistic, professional and restorative justice skills.\u003c/p>\n\u003cp>“We’re putting them in a system that’s going to change the individual for the better, that’s going to prepare them for a world that has historically kept them out of the equation,” says Richardson, an MC and producer who performs as \u003ca href=\"https://www.instagram.com/unlearntheworld/\">UnLearn The World\u003c/a>. “And we’re saying that you can do so by being your most authentic self, finding your voice and letting your voice be heard as loud as possible across all these different creative spectrums.”\u003c/p>\n\u003cp>These new, ambitious projects come at an exciting time for Hip Hop For Change, but also one of seismic shifts for the organization. The most prominent hip-hop education nonprofit in the Bay Area has recently received an influx of funding from partners such as Meta and the San Francisco 49ers, which has allowed it to expand its youth programming. And the organization has ambitions to take its hip-hop curriculum — which teaches history, culture, beatmaking and other music skills at schools throughout California — nationwide.\u003c/p>\n\u003cfigure id=\"attachment_13930126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marlon Richardson, education director, poses for a portrait at Hip Hop For Change’s new Bayview-Hunters Point film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This period of growth has not been without turbulence: In March, the nonprofit announced on its Instagram that founder Khafre James was removed as executive director in January, and that he subsequently resigned. James, who oversaw the growth of the organization from a grassroots initiative, had been the face of the organization for 10 years, and the announcement stirred up controversy and speculation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since James’ departure, Hip Hop For Change is now collectively helmed by Richardson, grassroots director Malina King, marketing and creative director \u003ca href=\"https://www.instagram.com/stretchito/\">Marc Stretch\u003c/a> and grants manager \u003ca href=\"https://www.instagram.com/pallavi.kidambi/\">Pallavi Kidambi\u003c/a>. And the four of them were tight-lipped during our interview about the circumstances surrounding James’ departure, saying only that the organization’s board of directors hired an outside investigator to look into allegations about his leadership, which led to his removal. When reached by KQED, James pointed to a “disgruntled employee” and said “there was no merit” to the allegations.\u003c/p>\n\u003cp>“I’ve always been proud of what I started at Hip Hop For Change, and I wish them the best simply for the fact that they’re teaching babies in the community, the culture,” says James, whose new nonprofit, Hip Hop For the People, is hosting a free health and wellness summit at the New Parish with Inspectah Deck of Wu-Tang Clan on June 25. “As long as they’re doing that, they have my full blessing.”\u003c/p>\n\u003cfigure id=\"attachment_13930127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malina King, grassroots director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Hip Hop For Change, its four leaders are focused on forward motion. King is building up the grassroots staff — the canvassing team with clipboards often seen asking passersby if they want to help end white supremacy — and expanding their professional development opportunities. Richardson is busy getting more hip-hop history and musical programming into schools up and down the state, from Los Angeles to Santa Rosa.\u003c/p>\n\u003cp>A number of schools have already seen those programs unlock students’ creativity and self-expression. Dr. Delores Thompson, the pathway coordinator at Oakland School for the Arts who began her career at Black-owned television station \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\">Soul Beat TV\u003c/a>, says she appreciates Hip Hop For Change’s emphasis on storytelling — an empowering facet of the culture that is often neglected in the mainstream music industry.\u003c/p>\n\u003cfigure id=\"attachment_13930128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pallavi Kidambi, grants manager, poses for a portrait at Hip Hop for Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had hip-hop artists like Grandmaster Flash, ‘The Message,’ Public Enemy, you know, all these people that actually told stories and either undergirded movements and or started movements,” she says.\u003c/p>\n\u003cp>“Storytellers not only can lift up our community, but they can also help our community to go to the next level or kind of kite us to where we’re going,” Thompson adds. [aside postid='arts_13929183']\u003c/p>\n\u003cp>Kidambi, the grants manager, is securing more funding and also working on next year’s annual Women’s Empowerment Summit. Along with Stretch, the four Hip Hop For Change leaders are moving as a unit. All artists themselves, the youngest among them are still establishing themselves within hip-hop while the oldest have seen its evolution into a global force. As conversations about inclusivity evolve, the team has embraced intergenerational collaboration, and is a rare example of an explicitly pro-woman and pro-LGBTQ+ hip-hop organization.\u003c/p>\n\u003cfigure id=\"attachment_13930129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Stretch, marketing and creative director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am a Black Latina queer woman from East Oakland, and that is hip-hop,” says King. “I’m in the right place.”\u003c/p>\n\u003cp>“Hip-hop is expansive,” says Stretch. “It’s not defined by the ’90s, it’s not defined by the 2000s. It’s defined by whoever is listening to it, whoever’s creating it. … The culture is for all of us now, and we take from it what’s important to us. And sometimes the important part is just to be quiet and listen to someone else.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.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>\u003cem>Hip Hop For Change’s \u003ca href=\"https://www.hiphopforchange.org/copy-of-agents-of-change\">Pipeline 2 Positivity\u003c/a> youth internship program is currently accepting applications. The organization’s San Francisco studio opens for bookings on June 26.\u003c/em>\u003c/p>\n\u003cp>\u003cem>UnLearn The World hosts a \u003ca href=\"https://www.instagram.com/p/CtH_AFluII8/\">youth MC Competition for Town Nights\u003c/a> with \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">CURYJ\u003c/a> on June 16 at Josie de la Cruz Park in Oakland. UnLearn The World and Marc Stretch host \u003ca href=\"https://enjoymillvalley.com/double-the-juneteenth-mill-valleys-freedom-festival-on-downtown-plaza-is-june-17-marin-citys-follows-on-june-19/\">Mill Valley’s Juneteenth celebration\u003c/a> on June 17. And Hip Hop For Change curates a youth performance showcase at the \u003ca href=\"https://www.sjearthquakes.com/news/news-earthquakes-announce-2023-theme-nights\">San Jose Earthquakes\u003c/a> soccer game on July 1, celebrating hip-hop’s 50th anniversary.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction: \u003c/em>\u003c/strong>\u003cem>This story listed the size of Hip Hop For Change’s San Francisco studio as 12,000 square feet when it is 1,200. \u003c/em>\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\">That’s My Word\u003c/a>, 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>There’s a new creative hub blossoming between auto shops and construction businesses in San Francisco’s Bayview-Hunters Point. On a recent afternoon, \u003ca href=\"https://www.hiphopforchange.org/\">Hip Hop For Change\u003c/a>’s education director Marlon Richardson beams with excitement as he walks us through the 1,200-square-foot studio, which will soon come alive with possibilities: a recording space for music and podcasts; a lighting set-up for photography and video shoots; a screen-printing press for artist merch.\u003c/p>\n\u003cp>On June 26, Hip Hop For Change’s new San Francisco studio will be ready to welcome the thousands of children and young people the organization serves every year, plus local artists from its staff and the surrounding community. A second studio is coming soon to the organization’s North Oakland headquarters. And other developments are on the horizon, including a 24/7 online radio station and Pipeline 2 Positivity, a paid internship program for system-impacted youth to get training in artistic, professional and restorative justice skills.\u003c/p>\n\u003cp>“We’re putting them in a system that’s going to change the individual for the better, that’s going to prepare them for a world that has historically kept them out of the equation,” says Richardson, an MC and producer who performs as \u003ca href=\"https://www.instagram.com/unlearntheworld/\">UnLearn The World\u003c/a>. “And we’re saying that you can do so by being your most authentic self, finding your voice and letting your voice be heard as loud as possible across all these different creative spectrums.”\u003c/p>\n\u003cp>These new, ambitious projects come at an exciting time for Hip Hop For Change, but also one of seismic shifts for the organization. The most prominent hip-hop education nonprofit in the Bay Area has recently received an influx of funding from partners such as Meta and the San Francisco 49ers, which has allowed it to expand its youth programming. And the organization has ambitions to take its hip-hop curriculum — which teaches history, culture, beatmaking and other music skills at schools throughout California — nationwide.\u003c/p>\n\u003cfigure id=\"attachment_13930126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930126\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65563_016_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marlon Richardson, education director, poses for a portrait at Hip Hop For Change’s new Bayview-Hunters Point film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This period of growth has not been without turbulence: In March, the nonprofit announced on its Instagram that founder Khafre James was removed as executive director in January, and that he subsequently resigned. James, who oversaw the growth of the organization from a grassroots initiative, had been the face of the organization for 10 years, and the announcement stirred up controversy and speculation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since James’ departure, Hip Hop For Change is now collectively helmed by Richardson, grassroots director Malina King, marketing and creative director \u003ca href=\"https://www.instagram.com/stretchito/\">Marc Stretch\u003c/a> and grants manager \u003ca href=\"https://www.instagram.com/pallavi.kidambi/\">Pallavi Kidambi\u003c/a>. And the four of them were tight-lipped during our interview about the circumstances surrounding James’ departure, saying only that the organization’s board of directors hired an outside investigator to look into allegations about his leadership, which led to his removal. When reached by KQED, James pointed to a “disgruntled employee” and said “there was no merit” to the allegations.\u003c/p>\n\u003cp>“I’ve always been proud of what I started at Hip Hop For Change, and I wish them the best simply for the fact that they’re teaching babies in the community, the culture,” says James, whose new nonprofit, Hip Hop For the People, is hosting a free health and wellness summit at the New Parish with Inspectah Deck of Wu-Tang Clan on June 25. “As long as they’re doing that, they have my full blessing.”\u003c/p>\n\u003cfigure id=\"attachment_13930127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930127\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65568_018_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malina King, grassroots director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Hip Hop For Change, its four leaders are focused on forward motion. King is building up the grassroots staff — the canvassing team with clipboards often seen asking passersby if they want to help end white supremacy — and expanding their professional development opportunities. Richardson is busy getting more hip-hop history and musical programming into schools up and down the state, from Los Angeles to Santa Rosa.\u003c/p>\n\u003cp>A number of schools have already seen those programs unlock students’ creativity and self-expression. Dr. Delores Thompson, the pathway coordinator at Oakland School for the Arts who began her career at Black-owned television station \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\">Soul Beat TV\u003c/a>, says she appreciates Hip Hop For Change’s emphasis on storytelling — an empowering facet of the culture that is often neglected in the mainstream music industry.\u003c/p>\n\u003cfigure id=\"attachment_13930128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65573_023_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pallavi Kidambi, grants manager, poses for a portrait at Hip Hop for Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ve had hip-hop artists like Grandmaster Flash, ‘The Message,’ Public Enemy, you know, all these people that actually told stories and either undergirded movements and or started movements,” she says.\u003c/p>\n\u003cp>“Storytellers not only can lift up our community, but they can also help our community to go to the next level or kind of kite us to where we’re going,” Thompson adds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kidambi, the grants manager, is securing more funding and also working on next year’s annual Women’s Empowerment Summit. Along with Stretch, the four Hip Hop For Change leaders are moving as a unit. All artists themselves, the youngest among them are still establishing themselves within hip-hop while the oldest have seen its evolution into a global force. As conversations about inclusivity evolve, the team has embraced intergenerational collaboration, and is a rare example of an explicitly pro-woman and pro-LGBTQ+ hip-hop organization.\u003c/p>\n\u003cfigure id=\"attachment_13930129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/RS65575_026_KQEDArts_HipHop4ChangeBayview_05082023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Stretch, marketing and creative director, poses for a portrait at Hip Hop For Change’s new Bayview film and recording studio in San Francisco on May 8, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am a Black Latina queer woman from East Oakland, and that is hip-hop,” says King. “I’m in the right place.”\u003c/p>\n\u003cp>“Hip-hop is expansive,” says Stretch. “It’s not defined by the ’90s, it’s not defined by the 2000s. It’s defined by whoever is listening to it, whoever’s creating it. … The culture is for all of us now, and we take from it what’s important to us. And sometimes the important part is just to be quiet and listen to someone else.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.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>\u003cem>Hip Hop For Change’s \u003ca href=\"https://www.hiphopforchange.org/copy-of-agents-of-change\">Pipeline 2 Positivity\u003c/a> youth internship program is currently accepting applications. The organization’s San Francisco studio opens for bookings on June 26.\u003c/em>\u003c/p>\n\u003cp>\u003cem>UnLearn The World hosts a \u003ca href=\"https://www.instagram.com/p/CtH_AFluII8/\">youth MC Competition for Town Nights\u003c/a> with \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">CURYJ\u003c/a> on June 16 at Josie de la Cruz Park in Oakland. UnLearn The World and Marc Stretch host \u003ca href=\"https://enjoymillvalley.com/double-the-juneteenth-mill-valleys-freedom-festival-on-downtown-plaza-is-june-17-marin-citys-follows-on-june-19/\">Mill Valley’s Juneteenth celebration\u003c/a> on June 17. And Hip Hop For Change curates a youth performance showcase at the \u003ca href=\"https://www.sjearthquakes.com/news/news-earthquakes-announce-2023-theme-nights\">San Jose Earthquakes\u003c/a> soccer game on July 1, celebrating hip-hop’s 50th anniversary.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction: \u003c/em>\u003c/strong>\u003cem>This story listed the size of Hip Hop For Change’s San Francisco studio as 12,000 square feet when it is 1,200. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't Hollywood Get Pop Stardom Right?",
"headTitle": "Why Can’t Hollywood Get Pop Stardom Right? | KQED",
"content": "\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>[aside postid='arts_13891785']She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVYUKxF0wMc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMCYE9hKP68\u003c/p>\n\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rieoWn9BdrQ\u003c/p>\n\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSbzyEJ8X9E\u003c/p>\n\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>[aside postid='pop_112407']There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>[aside postid='arts_13909218']Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\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/xVYUKxF0wMc'\n title='//www.youtube.com/embed/xVYUKxF0wMc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\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/fMCYE9hKP68'\n title='//www.youtube.com/embed/fMCYE9hKP68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rieoWn9BdrQ'\n title='//www.youtube.com/embed/rieoWn9BdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\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/nSbzyEJ8X9E'\n title='//www.youtube.com/embed/nSbzyEJ8X9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "John Coltrane and Eric Dolphy’s Fearless Experiment Sets a New Album Ablaze",
"headTitle": "John Coltrane and Eric Dolphy’s Fearless Experiment Sets a New Album Ablaze | KQED",
"content": "\u003cp>A little over 60 years ago, the editor-in-chief of \u003cem>DownBeat\u003c/em> magazine asked John Coltrane and Eric Dolphy a deceptively simple question: \u003cem>What are you trying to do? \u003c/em>He rephrased slightly: \u003cem>What are you doing? \u003c/em>The two saxophonists sat for a long 30 seconds before Dolphy broke the silence. “That’s a good question,” he said.\u003c/p>\n\u003cp>The \u003cem>DownBeat \u003c/em>editor, Don DeMicheal, printed this exchange in the April 1962 issue, as part of \u003ca href=\"https://downbeat.com/microsites/prestige/dolphy-interview.html\">a fascinating article\u003c/a> headlined “John Coltrane and Eric Dolphy Answer the \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> Critics.” Regular readers of the magazine would have known precisely what provoked this gesture: a scathing review of Coltrane’s quintet with Dolphy, decrying “an anarchistic course in their music that can but be termed anti-jazz.”\u003c/p>\n\u003cp>[aside postid='arts_13929691']1961 had been a prolific and pivotal year for Coltrane. That spring, his sleek, intriguing quartet version of “My Favorite Things,” from \u003cem>The Sound of Music, \u003c/em>became a breakout hit. But later that year, as he signed to a new label, Impulse! Records, he wasn’t putting a premium on commercial success. Instead, he was exploring new sounds and configurations, often testing ideas on the bandstand. One such idea was the addition of Dolphy, a wildly original voice on both reeds and flute, and a close personal friend.\u003c/p>\n\u003cp>The intrepid depth of their musical rapport takes center stage on a stunning new archival release, \u003cem>Evenings at the Village Gate: John Coltrane with Eric Dolphy\u003c/em>, which \u003ca href=\"https://JohnColtrane.lnk.to/Shop\">Impulse! will release on July 14\u003c/a>. Tomorrow the label will share a preview track, “Impressions,” featuring Coltrane on soprano saxophone and Dolphy on alto saxophone and bass clarinet — along with drummer Elvin Jones, pianist McCoy Tyner and bassist Reggie Workman, who together make the song feel something like a runaway train. (Until then, you can hear it — exclusively — here.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYja5pH7ciM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Any time that we worked with John,” Workman, who is a few weeks shy of 86, tells NPR, “you could always hear transition in his music.” This was maybe never truer than it is here, in a recording made during a month-long residency in late-summer of 1961. \u003cem>Evenings at the Village Gate \u003c/em>actually opens with a version of “My Favorite Things,” and closes with the droning, polyrhythmic churn of “Africa.” Coltrane was in the process of reinventing his language, and by extension the language of jazz.\u003c/p>\n\u003cp>“He was growing into a place where he did not want to be inhibited by the steps and the changes that were prescribed by certain structures,” Workman says, adding: “He wanted us to be about a chant.”\u003c/p>\n\u003cfigure id=\"attachment_13929976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-1020x796.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM.png 1158w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the marquee at the Village Gate in New York, advertising John Coltrane’s performances in the summer of 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Village Gate was a large basement room with a growing reputation in 1961, home to folksingers and comedy acts as well as artists like Nina Simone. Coltrane worked there in August as part of a triple bill, alongside groups led by drummer Art Blakey and pianist Horace Silver. (A photograph of the club marquee by Herb Snitzer shows Coltrane billed with a quartet, underscoring how recently Dolphy had joined the fray.)\u003c/p>\n\u003cp>[aside postid='arts_13927947']The Gate had a state-of-the-art sound system, installed by an ambitious young engineer named Richard Alderson. One night during Coltrane’s run, Alderson decided to test the system by capturing the band, using a single RCA ribbon microphone suspended above the stage, with a line running to a reel-to-reel tape recorder. The tapes were never intended for public consumption, and unauthorized in any case, so Alderson set them aside. They found their way to a collection at the New York Public Library for the Performing Arts, where they were recently rediscovered by a Bob Dylan archivist.\u003c/p>\n\u003cfigure id=\"attachment_13929973\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg\" alt=\"An album cover depicts two men performing on stage, in shadow.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Evenings at the Village Gate’ by John Coltrane with Eric Dolphy. \u003ccite>(Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coltrane admirers, jazz historians and anyone intrigued by the experimental end of improvisational music, \u003cem>Evenings at the Village Gate \u003c/em>will represent not only a welcome new find but also a link in a chain. The Coltrane-and-Dolphy frontline was short-lived, in part because it faced such strong headwinds from the jazz establishment, but it did leave behind a major testament: \u003cem>Coltrane “Live” at the Village Vanguard, \u003c/em>recorded at a different Greenwich Village club in November 1961, the same month that their unruly output jarred loose the indelible phrase “anti-jazz.”\u003c/p>\n\u003cp>Those Village Vanguard tapes, which later yielded a monumental four-disc set, amount to one of the most mysterious and thrilling documents in jazz history. A couple of years ago, Ben Ratliff, author of \u003cem>Coltrane: The Story of a Sound\u003c/em>, placed this music within a cultural context of “ambivalent possibility,” in a vivid essay for the \u003cem>Washington Post \u003c/em>titled “\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/11/03/john-coltrane-village-vanguard-1961/\">John Coltrane and the Essence of 1961\u003c/a>.” He observes: “The music sounds post-heroic and pre-cynical; interestingly free from grandiosity; full of room for the listener to find a place within it and make up their own mind.”\u003c/p>\n\u003cp>Last week, after hearing the version of “Impressions” from \u003cem>Evenings at the Gate, \u003c/em>Ratliff elaborated on this idea. “It’s very hard to label or encapsulate, but it’s just so ferociously full of life force,” he said of the performance. “The musicians know how good this is, and they know how exciting it is — but beyond that, they don’t really know much, and it hasn’t been called anything yet. There’s a lot of the unknown here.”\u003c/p>\n\u003cfigure id=\"attachment_13929974\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929974\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg\" alt=\"\" width=\"200\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42-160x198.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Eric Dolphy (left) and John Coltrane taken by Herb Snitzer during a performance at the Village Gate in New York in 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What came next for Coltrane was the most stable period of his career, as he solidified the personnel of his quartet — Tyner, Jones and bassist Jimmy Garrison, who can be heard on parts of the Village Vanguard corpus — and made venerated albums like \u003cem>Crescent, Ballads \u003c/em>and \u003cem>A Love Supreme.\u003c/em> Parting ways, Dolphy refocused on his own visionary music, making strong statements until his tragically untimely death, of a diabetic coma, in 1964. (Coltrane died only three years later, of liver cancer.) The last several years have brought revelatory archival releases from both saxophonists, but \u003cem>Evenings at the Gate\u003c/em> is a window onto the early bloom of their collaboration, when it must have felt like pure possibility to all involved.\u003c/p>\n\u003cp>The 80-minute album — which will be released in physical formats with illuminating liner essays by Workman, Alderson, Grammy-winning jazz writer Ashley Kahn, and saxophonists Branford Marsalis and Lakecia Benjamin — seems guaranteed to reignite conversation about an incipient phase in Coltrane’s restless evolution. And it’s worth recalling part of the answer he finally gave DeMicheal, for the piece in \u003cem>DownBeat.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[aside postid='arts_13921584']“I think the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe,” Coltrane said, sounding not the least bit defensive. “That’s what music is to me — it’s just another way of saying this is a big, beautiful universe we live in, that’s been given to us, and here’s an example of just how magnificent and encompassing it is. That’s what I would like to do. I think that’s one of the greatest things you can do in life, and we all try to do it in some way. The musician’s is through his music.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=John+Coltrane+and+Eric+Dolphy%27s+fearless+experiment+sets+a+new+album+ablaze+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A little over 60 years ago, the editor-in-chief of \u003cem>DownBeat\u003c/em> magazine asked John Coltrane and Eric Dolphy a deceptively simple question: \u003cem>What are you trying to do? \u003c/em>He rephrased slightly: \u003cem>What are you doing? \u003c/em>The two saxophonists sat for a long 30 seconds before Dolphy broke the silence. “That’s a good question,” he said.\u003c/p>\n\u003cp>The \u003cem>DownBeat \u003c/em>editor, Don DeMicheal, printed this exchange in the April 1962 issue, as part of \u003ca href=\"https://downbeat.com/microsites/prestige/dolphy-interview.html\">a fascinating article\u003c/a> headlined “John Coltrane and Eric Dolphy Answer the \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">Jazz\u003c/a> Critics.” Regular readers of the magazine would have known precisely what provoked this gesture: a scathing review of Coltrane’s quintet with Dolphy, decrying “an anarchistic course in their music that can but be termed anti-jazz.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1961 had been a prolific and pivotal year for Coltrane. That spring, his sleek, intriguing quartet version of “My Favorite Things,” from \u003cem>The Sound of Music, \u003c/em>became a breakout hit. But later that year, as he signed to a new label, Impulse! Records, he wasn’t putting a premium on commercial success. Instead, he was exploring new sounds and configurations, often testing ideas on the bandstand. One such idea was the addition of Dolphy, a wildly original voice on both reeds and flute, and a close personal friend.\u003c/p>\n\u003cp>The intrepid depth of their musical rapport takes center stage on a stunning new archival release, \u003cem>Evenings at the Village Gate: John Coltrane with Eric Dolphy\u003c/em>, which \u003ca href=\"https://JohnColtrane.lnk.to/Shop\">Impulse! will release on July 14\u003c/a>. Tomorrow the label will share a preview track, “Impressions,” featuring Coltrane on soprano saxophone and Dolphy on alto saxophone and bass clarinet — along with drummer Elvin Jones, pianist McCoy Tyner and bassist Reggie Workman, who together make the song feel something like a runaway train. (Until then, you can hear it — exclusively — here.)\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/DYja5pH7ciM'\n title='//www.youtube.com/embed/DYja5pH7ciM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Any time that we worked with John,” Workman, who is a few weeks shy of 86, tells NPR, “you could always hear transition in his music.” This was maybe never truer than it is here, in a recording made during a month-long residency in late-summer of 1961. \u003cem>Evenings at the Village Gate \u003c/em>actually opens with a version of “My Favorite Things,” and closes with the droning, polyrhythmic churn of “Africa.” Coltrane was in the process of reinventing his language, and by extension the language of jazz.\u003c/p>\n\u003cp>“He was growing into a place where he did not want to be inhibited by the steps and the changes that were prescribed by certain structures,” Workman says, adding: “He wanted us to be about a chant.”\u003c/p>\n\u003cfigure id=\"attachment_13929976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png\" alt=\"\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-1020x796.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-01-at-10.33.31-AM.png 1158w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the marquee at the Village Gate in New York, advertising John Coltrane’s performances in the summer of 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Village Gate was a large basement room with a growing reputation in 1961, home to folksingers and comedy acts as well as artists like Nina Simone. Coltrane worked there in August as part of a triple bill, alongside groups led by drummer Art Blakey and pianist Horace Silver. (A photograph of the club marquee by Herb Snitzer shows Coltrane billed with a quartet, underscoring how recently Dolphy had joined the fray.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Gate had a state-of-the-art sound system, installed by an ambitious young engineer named Richard Alderson. One night during Coltrane’s run, Alderson decided to test the system by capturing the band, using a single RCA ribbon microphone suspended above the stage, with a line running to a reel-to-reel tape recorder. The tapes were never intended for public consumption, and unauthorized in any case, so Alderson set them aside. They found their way to a collection at the New York Public Library for the Performing Arts, where they were recently rediscovered by a Bob Dylan archivist.\u003c/p>\n\u003cfigure id=\"attachment_13929973\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg\" alt=\"An album cover depicts two men performing on stage, in shadow.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/jc-ed_3000x3000_packshot_revised_custom-330d48681258a72348dda94428b70420669ce944-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Evenings at the Village Gate’ by John Coltrane with Eric Dolphy. \u003ccite>(Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Coltrane admirers, jazz historians and anyone intrigued by the experimental end of improvisational music, \u003cem>Evenings at the Village Gate \u003c/em>will represent not only a welcome new find but also a link in a chain. The Coltrane-and-Dolphy frontline was short-lived, in part because it faced such strong headwinds from the jazz establishment, but it did leave behind a major testament: \u003cem>Coltrane “Live” at the Village Vanguard, \u003c/em>recorded at a different Greenwich Village club in November 1961, the same month that their unruly output jarred loose the indelible phrase “anti-jazz.”\u003c/p>\n\u003cp>Those Village Vanguard tapes, which later yielded a monumental four-disc set, amount to one of the most mysterious and thrilling documents in jazz history. A couple of years ago, Ben Ratliff, author of \u003cem>Coltrane: The Story of a Sound\u003c/em>, placed this music within a cultural context of “ambivalent possibility,” in a vivid essay for the \u003cem>Washington Post \u003c/em>titled “\u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/11/03/john-coltrane-village-vanguard-1961/\">John Coltrane and the Essence of 1961\u003c/a>.” He observes: “The music sounds post-heroic and pre-cynical; interestingly free from grandiosity; full of room for the listener to find a place within it and make up their own mind.”\u003c/p>\n\u003cp>Last week, after hearing the version of “Impressions” from \u003cem>Evenings at the Gate, \u003c/em>Ratliff elaborated on this idea. “It’s very hard to label or encapsulate, but it’s just so ferociously full of life force,” he said of the performance. “The musicians know how good this is, and they know how exciting it is — but beyond that, they don’t really know much, and it hasn’t been called anything yet. There’s a lot of the unknown here.”\u003c/p>\n\u003cfigure id=\"attachment_13929974\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929974\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg\" alt=\"\" width=\"200\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1961_johncoltrane_herbsnitzer_photographicprint_2-copy_custom-f56222536ca8d06c927a5cde2b64884d8f143a42-160x198.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Eric Dolphy (left) and John Coltrane taken by Herb Snitzer during a performance at the Village Gate in New York in 1961. \u003ccite>(Herb Snitzer/Courtesy of Impulse! Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What came next for Coltrane was the most stable period of his career, as he solidified the personnel of his quartet — Tyner, Jones and bassist Jimmy Garrison, who can be heard on parts of the Village Vanguard corpus — and made venerated albums like \u003cem>Crescent, Ballads \u003c/em>and \u003cem>A Love Supreme.\u003c/em> Parting ways, Dolphy refocused on his own visionary music, making strong statements until his tragically untimely death, of a diabetic coma, in 1964. (Coltrane died only three years later, of liver cancer.) The last several years have brought revelatory archival releases from both saxophonists, but \u003cem>Evenings at the Gate\u003c/em> is a window onto the early bloom of their collaboration, when it must have felt like pure possibility to all involved.\u003c/p>\n\u003cp>The 80-minute album — which will be released in physical formats with illuminating liner essays by Workman, Alderson, Grammy-winning jazz writer Ashley Kahn, and saxophonists Branford Marsalis and Lakecia Benjamin — seems guaranteed to reignite conversation about an incipient phase in Coltrane’s restless evolution. And it’s worth recalling part of the answer he finally gave DeMicheal, for the piece in \u003cem>DownBeat.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe,” Coltrane said, sounding not the least bit defensive. “That’s what music is to me — it’s just another way of saying this is a big, beautiful universe we live in, that’s been given to us, and here’s an example of just how magnificent and encompassing it is. That’s what I would like to do. I think that’s one of the greatest things you can do in life, and we all try to do it in some way. The musician’s is through his music.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=John+Coltrane+and+Eric+Dolphy%27s+fearless+experiment+sets+a+new+album+ablaze+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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\">That’s My Word\u003c/a>, 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>In the Hall of Game that is Bay Area hip-hop, independent collectives loom large. Along with Hieroglyphics and Living Legends, the fiercely creative, multicultural group \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#solesides-makes-its-debut\">Solesides\u003c/a> helped define a certain only-in-the-Bay sensibility. With groundbreaking artists like \u003ca href=\"https://www.kqed.org/arts/13842646/hip-hop-photographer-b-shot-just-about-anyone-that-mattered\">DJ Shadow\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13899416/the-gift-of-gab-5-songs-to-know-by-the-blackalicious-legend\">Blackalicious\u003c/a>, the crew added a new, abstracted dimension to Bay Area hip-hop. \u003c/p>\n\u003cp>One of its most dizzying groups was Latyrx. Above, watch Latyrx’s Lateef and Lyrics Born discuss Solesides’ early formation at UC Davis, its transformation into Quannum and its high-profile successes as a diverse Bay Area collective — as well as their enduring respect for their Bay Area colleagues and each other. \u003c/p>\n\u003cp>[aside postID='arts_13923938']\u003cem>Select questions from the interview, edited for length and clarity:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>In your own words, what makes Bay Area hip-hop special? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: The Bay Area has always been a hodgepodge of a lot of different cultures and communities. And you see a reflection of that in Bay Area hip-hop in a way that you don’t in a lot of the other parts of the country. So here you have early, early on, contributing, folks of all different cultures. You got the \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">Invisibl Skratch Piklz\u003c/a>, which have been holding down the Bay for a long time. Obviously you have \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">Too Short\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">MC Hammer\u003c/a>. Those three styles right there. Too Short is as gangster and pimp shit as it gets. MC Hammer, who’s the blueprint for what Puff Daddy did — just the idea that you could take over the world with your music, and it didn’t matter that you were from the Bay Area. That’s part of the Bay Area identity. Musically, Del, just extreme creativity. I sound the way that I do because of Del. And \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\">Richie Rich\u003c/a>. I sound the way I do because of \u003cem>all\u003c/em> of those people. \u003c/p>\n\u003cfigure id=\"attachment_13929863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lateef the Truthspeaker onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One thing we find in Bay Area hip-hop is this rich tradition of the independent hustle. You came together in the 1990s at this incredible scene around KDVS, the radio station at UC Davis, and became a major part of this lineage of independent collectives. Can you tell people a little bit about that? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: You can’t really talk about music, in particular hip-hop, in the Bay Area without talking about this independent spirit. And then the label and music movement that spawned from that. You just have this intersectionality of free thought and politics and culture and history. You have all these dynamics that kind of converge. We have this very special culture. And the other thing that I think is notable is that we’re \u003cem>not\u003c/em> in New York. We’re \u003cem>not\u003c/em> in LA. So when we started Quannum and Solesides, it wasn’t because we wanted to set the world on fire as executives. Nobody else would put our music out! We had no choice. If we didn’t put it out, nobody else would. \u003c/p>\n\u003cp>\u003cstrong>Right out of the gate, Solesides and Latyrx reflected that multiculturalism of the Bay Area. Lyrics Born, you’re Japanese-American. Born in Tokyo, raised in Berkeley. And Lateef, you’re half Black, half Puerto Rican, some Algerian. How would you say your personal identity has come through in your music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: The interesting thing about the Bay Area, and particularly Solesides and Quannum in the early ’90s, is that it’s kind of a case study in how multicultural groups can really succeed. We had probably the most diverse group collective of professional musicians, successful professional musicians, maybe in the history of music. Right? Period. Black, white, Indian, Japanese, Chinese, Italian, Algerian, Puerto Rican. Every single food group was represented.\u003c/p>\n\u003cfigure id=\"attachment_13929864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: I’m going to add to this question of cultural diversity, and I’m just going to point out that, you know, one of the things that I was always impressed by with Lyrics Born, from the first time that I met him, was his originality. Even when we were really young, he found his voice very early, and it didn’t sound like anybody else’s voice.\u003c/p>\n\u003cp>But here’s the thing about him, that I think people don’t really realize, is that as far as Asian American males in music, Lyrics Born is like, the most successful pioneer. I consider myself to be revolutionary and, you know, on the edge and all that. But I’m supporting someone who is arguably more … there’s a quality to what Lyrics Born has been able to do that you can’t replicate. I don’t really care who you are. You can only be the first person to step on the moon. Only one person gets to do that! You know what I mean? And it’s like outside of Don Ho, this guy’s got the most records.\u003c/p>\n\u003cp>So when you talk about diversity, that’s true in a lot of ways for the Bay Area, and a lot of artists from here. But also for this man in particular. \u003c/p>\n\u003cp>\u003cem>Watch the whole interview above.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-medium 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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"excerpt": "Watch Latyrx onstage at KQED, discussing their Solesides/Quannum crew and its place in Bay Area hip-hop.",
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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\">That’s My Word\u003c/a>, 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>In the Hall of Game that is Bay Area hip-hop, independent collectives loom large. Along with Hieroglyphics and Living Legends, the fiercely creative, multicultural group \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#solesides-makes-its-debut\">Solesides\u003c/a> helped define a certain only-in-the-Bay sensibility. With groundbreaking artists like \u003ca href=\"https://www.kqed.org/arts/13842646/hip-hop-photographer-b-shot-just-about-anyone-that-mattered\">DJ Shadow\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13899416/the-gift-of-gab-5-songs-to-know-by-the-blackalicious-legend\">Blackalicious\u003c/a>, the crew added a new, abstracted dimension to Bay Area hip-hop. \u003c/p>\n\u003cp>One of its most dizzying groups was Latyrx. Above, watch Latyrx’s Lateef and Lyrics Born discuss Solesides’ early formation at UC Davis, its transformation into Quannum and its high-profile successes as a diverse Bay Area collective — as well as their enduring respect for their Bay Area colleagues and each other. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Select questions from the interview, edited for length and clarity:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>In your own words, what makes Bay Area hip-hop special? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: The Bay Area has always been a hodgepodge of a lot of different cultures and communities. And you see a reflection of that in Bay Area hip-hop in a way that you don’t in a lot of the other parts of the country. So here you have early, early on, contributing, folks of all different cultures. You got the \u003ca href=\"https://www.kqed.org/arts/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy\">Invisibl Skratch Piklz\u003c/a>, which have been holding down the Bay for a long time. Obviously you have \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">Too Short\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Del\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13927349/bay-area-hip-hop-1980s\">MC Hammer\u003c/a>. Those three styles right there. Too Short is as gangster and pimp shit as it gets. MC Hammer, who’s the blueprint for what Puff Daddy did — just the idea that you could take over the world with your music, and it didn’t matter that you were from the Bay Area. That’s part of the Bay Area identity. Musically, Del, just extreme creativity. I sound the way that I do because of Del. And \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\">Richie Rich\u003c/a>. I sound the way I do because of \u003cem>all\u003c/em> of those people. \u003c/p>\n\u003cfigure id=\"attachment_13929863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.Lateef.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lateef the Truthspeaker onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One thing we find in Bay Area hip-hop is this rich tradition of the independent hustle. You came together in the 1990s at this incredible scene around KDVS, the radio station at UC Davis, and became a major part of this lineage of independent collectives. Can you tell people a little bit about that? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: You can’t really talk about music, in particular hip-hop, in the Bay Area without talking about this independent spirit. And then the label and music movement that spawned from that. You just have this intersectionality of free thought and politics and culture and history. You have all these dynamics that kind of converge. We have this very special culture. And the other thing that I think is notable is that we’re \u003cem>not\u003c/em> in New York. We’re \u003cem>not\u003c/em> in LA. So when we started Quannum and Solesides, it wasn’t because we wanted to set the world on fire as executives. Nobody else would put our music out! We had no choice. If we didn’t put it out, nobody else would. \u003c/p>\n\u003cp>\u003cstrong>Right out of the gate, Solesides and Latyrx reflected that multiculturalism of the Bay Area. Lyrics Born, you’re Japanese-American. Born in Tokyo, raised in Berkeley. And Lateef, you’re half Black, half Puerto Rican, some Algerian. How would you say your personal identity has come through in your music?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lyrics Born\u003c/strong>: The interesting thing about the Bay Area, and particularly Solesides and Quannum in the early ’90s, is that it’s kind of a case study in how multicultural groups can really succeed. We had probably the most diverse group collective of professional musicians, successful professional musicians, maybe in the history of music. Right? Period. Black, white, Indian, Japanese, Chinese, Italian, Algerian, Puerto Rican. Every single food group was represented.\u003c/p>\n\u003cfigure id=\"attachment_13929864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13929864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Latyrx.LyricsBorn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics Born onstage at KQED. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lateef\u003c/strong>: I’m going to add to this question of cultural diversity, and I’m just going to point out that, you know, one of the things that I was always impressed by with Lyrics Born, from the first time that I met him, was his originality. Even when we were really young, he found his voice very early, and it didn’t sound like anybody else’s voice.\u003c/p>\n\u003cp>But here’s the thing about him, that I think people don’t really realize, is that as far as Asian American males in music, Lyrics Born is like, the most successful pioneer. I consider myself to be revolutionary and, you know, on the edge and all that. But I’m supporting someone who is arguably more … there’s a quality to what Lyrics Born has been able to do that you can’t replicate. I don’t really care who you are. You can only be the first person to step on the moon. Only one person gets to do that! You know what I mean? And it’s like outside of Don Ho, this guy’s got the most records.\u003c/p>\n\u003cp>So when you talk about diversity, that’s true in a lot of ways for the Bay Area, and a lot of artists from here. But also for this man in particular. \u003c/p>\n\u003cp>\u003cem>Watch the whole interview above.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" class=\"aligncenter size-medium 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\u003c/div>\u003c/p>",
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"slug": "10-jazz-and-classical-performances-to-catch-in-the-bay-area-this-summer",
"title": "10 Jazz and Classical Performances to Catch in the Bay Area This Summer",
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"headTitle": "10 Jazz and Classical Performances to Catch in the Bay Area This Summer | KQED",
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"content": "\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A Frida Kahlo opera, a salsa legend, an afrofuturist big band and, ahem, a mash-up between Tchaikovsky and Drake keep the jazz and classical scene lively this summer.",
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"title": "10 Jazz and Classical Performances to Catch in the Bay Area This Summer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say that jazz is best as a cool, late-night experience, and classical concerts are often a nighttime affair. But don’t let that notion get in the way of enjoying the season where both genres hang a little loose, and let their formal suit buttons out. Here’s a solid list of picks for the club, concert hall and outdoor setting this summer.\u003c/p>\n\u003cfigure id=\"attachment_13929696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AndyBrick.GameOn-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Video game composer Andy Brock conducts ‘Game On!’ \u003ccite>(Courtesy Andy Brick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.symphonysanjose.org/season/\">Game On!\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 26 and 27\u003cbr>\nSan Jose Center for the Performing Arts\u003c/em>\u003c/p>\n\u003cp>Like trap music or TikTok, video game music is a generational divider: younger people who came of age playing \u003cem>Super Mario Bros.\u003c/em> recognize it as high art, and a certain older generation dismisses it as commercial decoration. While not all video game scores rise to the brilliant level of, say, \u003cem>Final Fantasy VII\u003c/em>, there’s enough craft in the canon at this point that symphonic concerts of video game music have become frequent — and popular. In \u003cem>Game On!\u003c/em>, game composer Andy Brick conducts the San Jose Symphony in an evening of music from titles like \u003cem>World of Warcraft, Diablo, Assassin’s Creed, League of Legends, Until Dawn\u003c/em> and more.\u003c/p>\n\u003cfigure id=\"attachment_13929695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NavayeAzadiEnsemble.jpg 1280w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Navaye Azadi Ensemble sings of the ‘women, life, freedom’ movement in Iran. \u003ccite>(SFIAF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfiaf.org/2023_navaye_azadi\">Navaye Azadi Ensemble\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 11\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>As inspiring as the \u003ca href=\"https://en.wikipedia.org/wiki/Woman,_Life,_Freedom\">Women, Life, Freedom\u003c/a> movement in Iran may be, it’s important to remember that the opposition of the country’s morality police is strong, deadly, and not waning. To keep the movement in the public eye, and to express the issues of women’s rights and democracy through song, the Navaya Azadi Ensemble sings contemporary texts in Farsi, accompanied by violin and piano. The concert is part of the \u003ca href=\"https://www.sfiaf.org/\">San Francisco International Arts Festival\u003c/a>, itself a cornucopia of socially conscious performances over an 11-day span.\u003c/p>\n\u003cfigure id=\"attachment_13929694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FridaDiego.CRED_.CarliKadelSDOpera.jpg 1600w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guadalupe Paz and Alfredo Daza in the San Diego Opera world premiere of ‘El ultimo sueño de Frida y Diego.’ \u003ccite>(Karli Cadel / San Diego Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">El último sueño de Frida y Diego\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13–30\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this summer’s most anticipated new work, the story of Frida Kahlo and Diego Rivera’s rollercoaster romance gets a creative treatment by Boonville-based composer Gabriela Lena Frank and librettist Nilo Cruz. Set three years after Kahlo’s death, and weeks before Rivera’s own, the opera imagines Rivera (Alfredo Daza) pining to see his wife Frida (Daniela Mack) one last time. Since it happens to be Día de los Muertos, his wish becomes an absorbing journey for both of them. With a relatively short run time of just over two hours, consider \u003cem>Frida y Diego\u003c/em> a perfect option for introducing first-timers to the opera.\u003c/p>\n\u003cfigure id=\"attachment_10811128\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/06/TerryDavid.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TerryDavid-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley with the Kronos Quartet’s David Harrington at the SFJAZZ Center. \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://kronosquartet.org/kronos-festival-2023/\">Kronos Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–24\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>Put the classical canon in an air fryer, send it 50 years into the future, and play it at 1.5x speed, and you’d get something close to the atmospheres created by the Kronos Quartet. The Bay Area institution’s annual festival is always thrilling, with guest performers and daring works. This year’s lineup includes pieces by West African singer Angélique Kidjo, Pulitzer winner Henry Threadgill, Bay Area composer Gullermo Galindo, jazz-thrash polyglot Trey Spruance, and even some reliable standbys like Terry Riley (above) and Philip Glass. With Aizuri Quartet, Attacca Quartet and Friction Quartet joining Kronos, check your preconceptions at the door.\u003c/p>\n\u003cfigure id=\"attachment_13929699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/IsaiahCollier.jpg\" alt=\"\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/IsaiahCollier-768x498.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Collier. \u003ccite>(Tiffany Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.turntabletickets.com/\">Isaiah Collier & the Chosen Few\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 22–25\u003cbr>\nThe Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>If you’ve ever wanted to travel back in time to see John Coltrane recording his landmark album \u003cem>A Love Supreme\u003c/em>, Isaiah Collier & the Chosen Few have a deal for you. For the saxophonist’s 2021 album \u003cem>Cosmic Transitions\u003c/em>, he brought his group to the same recording studio where \u003cem>A Love Supreme\u003c/em> was made, and on John Coltrane’s birthday, no less. This quaint anecdote could have ended there — if the results weren’t so vital and stunning. Live, Collier is always on his game, and in the classic confines of this Tenderloin basement club, his sets are bound to be a transporting experience.\u003c/p>\n\u003cfigure id=\"attachment_13929700\" class=\"wp-caption aligncenter\" style=\"max-width: 660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WillieColon.jpg\" alt=\"\" width=\"660\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WillieColon-160x116.jpg 160w\" sizes=\"auto, (max-width: 660px) 100vw, 660px\">\u003cfigcaption class=\"wp-caption-text\">Willie Colón. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.livenation.com/event/G5vYZ9Pb4EECE/cafe-con-leche-starring-willie-colon\">Willie Colón\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15\u003cbr>\nShoreline Amphitheater, Mountain View\u003c/em>\u003c/p>\n\u003cp>Willie Colón’s name is near-synonymous with the New York Salsa renaissance of the early 1970s. In a series of underworld-themed albums on the Fania label, the trombonist, vocalist and bandleader worked with Hector Lavoe, Celia Cruz, Ruben Blades and many others. The Latin music legend headlines this package tour with Los Hermanos Rosario, Hector Acosta, Los Hermanos Flores and Fulanito. Pro tip: For a free concert of New York Latin music without the snarled traffic into and out of the parking lot, the Latin soul legend \u003ca href=\"https://ybgfestival.org/event/joe-bataan_la-dona/\">Joe Bataan plays with Mission District favorite La Doña at Yerba Buena Gardens\u003c/a> on the same day, July 15.\u003c/p>\n\u003cfigure id=\"attachment_13929728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Marshall.Allen_.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshall Allen of the Sun Ra Arkestra performs on stage in the United Kingdom in 2012. \u003ccite>(Gary Wolstenholme/Redferns via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/summer23/sun-ra-arkestra-adventure-into-outer-space/\">Sun Ra Arkestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 20–23\u003cbr>\nSFJAZZ Center, San Francisco\u003c/em>\u003c/p>\n\u003cp>The music and mystique of Sun Ra just keep growing, and while Ra himself left this Earth to travel the outer spaceways in 1993, his mission is, thankfully, kept alive by 99-year-old saxophonist and bandleader Marshall Allen. (Note: Allen, 99, is no longer performing on the road with the band, and will not appear at these shows.) Cunningly, the group’s residency is split in half: two nights of Ra’s more borderless, avant-garde music, and two nights of his singular take on big-band swing. Attendees are advised to be ready for a journey — no one who experiences the music of Sun Ra in a live setting leaves unchanged.\u003c/p>\n\u003cfigure id=\"attachment_13929729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg\" alt=\"\" width=\"800\" height=\"394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-800x394.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_-768x378.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Peter.Drake_.jpg 1015w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tchaikovsky and… Drake?\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Hackman-Tchaikovsky-X-Drake\">Tchaikovsky x Drake\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 29\u003cbr>\nDavis Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dude, I don’t know either. The classical establishment is always looking for ways to make classical music more enticing to younger people, and this seems to be its latest attempt: a touring production that blends the symphonies of Tchaikovsky with the half-melodic melodies and incel-adjacent bars of the famous Canadian rapper Drake. For a more local spin on this experiment, San Francisco rap icon \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2867\">Andre Nickatina hosts a “reimagining” of his music with a classical ensemble\u003c/a> just one block away from Davies on June 24. Attention, NBA Youngboy and Yo-Yo Ma: your move!\u003c/p>\n\u003cfigure id=\"attachment_13929730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Ahya.Simone.jpg 1298w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ahya Simone. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://operaparallele.org/expansive/\">Expansive: A Showcase of Transgender and Non-Binary Classical Artists\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Aug. 3 and 4\u003cbr>\nStrand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>San Francisco’s first-of-its-kind Transgender District was founded in 2017, and in 2022, it partnered with Opera Parallèle to celebrate trans and nonbinary classical musicians. The series returns in a year that’s seen increased attacks on trans rights, both in distant state legislatures and on San Francisco’s own streets. Performing this year are singer Katherine Goforth, harpist Ahya Simone (above) and mezzo-soprano Nikola Printz. With host Afrika America, expect poignancy, humor and artistry of high order.\u003c/p>\n\u003cfigure id=\"attachment_13929731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Patrice-Rushen.jpg 1332w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrice Rushen. \u003ccite>(San Jose Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://summerfest.sanjosejazz.org/\">San Jose Jazz Summer Fest\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 11-13\u003cbr>\nVarious venues, downtown San Jose\u003c/em>\u003c/p>\n\u003cp>It’s remarkably common for small festivals to lose their steam and peter out after a couple years. Rare is the festival, like San Jose Summerfest, that just gets bigger and better each year. This year’s fun comes in the form of headliners like bassist extraordinaire Marcus Miller, experimentalists The Bad Plus, Zambian rock band W.I.T.C.H., soulful vocalist Gregory Porter and jazz phenomenon Veronica Swift. Spread out over central San Jose, the festival offers the sublime opportunity to listen to Patrice Rushen (above) on a Sunday afternoon, laying on a blanket in Plaza de César Chávez. Does summertime get much better?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> \u003c/em>\u003cem>This story previously stated that San Jose Jazz Summer Fest takes place Aug. 3 and 4. The correct dates are Aug. 11-13. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has also been updated to reflect that Marshall Allen is not performing with the Sun Ra Arkestra in Sam Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tina-turner-rock-and-roll-icon-dies-at-83",
"title": "Tina Turner, Rock and Roll Icon, Dies at 83",
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"headTitle": "Tina Turner, Rock and Roll Icon, Dies at 83 | KQED",
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"content": "\u003cp>Tina Turner, a soul and rock powerhouse known for her octave-defying voice and mesmerizing stage moves, has died at the age of 83.\u003c/p>\n\u003cp>Her death was announced in \u003ca href=\"https://www.facebook.com/TinaTurner/posts/pfbid02vTXDmuG5YSzJkE5W1V38YSYVCiopsy1Y779NKEknhHvw1psagk6dPot2KFntAkRJl\">a statement on her official Facebook page\u003c/a>, but offered no details about the cause. In her 2018 memoir, \u003cem>Tina Turner: My Love Story\u003c/em>, Turner detailed a litany of health issues she had dealt with since 2013, including a stroke, intestinal cancer and kidney failure. Her second husband, Erwin Bach, donated a kidney to her in 2017, saving her life.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recording career that spanned six decades, Turner found fame both as a solo artist and in a duo with her first husband, Ike Turner. With the latter, she was inducted into the Rock & Roll Hall of Fame and became a staple of the U.S. pop and R&B charts in the 1960s and ’70s. The duo’s high-energy soul and rock was informed by Tina’s disparate vocal influences. She grew up listening to country music, but had many idols: ’50s R&B singers LaVern Baker and Faye Adams; gospel great Mahalia Jackson and rock pioneer Sister Rosetta Tharpe; blues legend B.B. King; and soul greats Ray Charles and Sam Cooke. Accordingly, she had a malleable and versatile voice, and could unleash a scalding rock growl, or dip into her lower register and sing the smoky blues or velvety R&B numbers. One of Ike & Tina’s most well-known songs, “River Deep, Mountain High,” was even a Phil Spector-produced, orchestral-gospel triumph.\u003c/p>\n\u003cp>An agile vocal interpreter, Turner also made other people’s iconic songs her own — adding a tone of yearning and desperation to The Beatles’ already-pleading “Come Together,” and layering on more of a country twang to The Rolling Stones’ “Honky Tonk Women.” Her signature tune, a fiery transformation of Creedence Clearwater Revival’s laid-back “Proud Mary,” became a showcase for her sultry soul drawl and raspy rock ‘n’ roll yelp. The latter song won Turner her first Grammy Award, for best R&B performance by a duo or group with vocal. She would win eight Grammys overall — including best female rock vocal performance for three years in a row during the ’80s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n-AzcJMkbjA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to her vocal prowess, Turner had a commanding stage presence that was often characterized as “electrifying.” This descriptor somehow always seemed like an understatement: At the microphone, Turner vibrated with energy, like a simmering pot about to boil over, and she possessed natural athleticism that translated to lithe but powerful onstage dancing. “Someone once called Tina ‘the female Mick Jagger,'” \u003cem>Rolling Stone’\u003c/em>s Ben Fong-Torres\u003ca href=\"https://www.rollingstone.com/music/music-features/tales-of-ike-and-tina-turner-237489/\"> wrote\u003c/a> in 1971. “In fact, to be more accurate, one should call Mick ‘the male Tina Turner.'” (This is no mere critical hyperbole: In the same \u003cem>Rolling Stone\u003c/em> feature, Turner herself insinuated that Jagger studied her moves rather closely when she and Ike toured with the Rolling Stones in 1969.) Naturally, when the pair teamed up for a\u003ca href=\"https://www.youtube.com/watch?v=d2c4114eKGQ\"> barnburning cover\u003c/a> of the Jacksons’ “State of Shock” at Live Aid in 1985, the combination was incendiary.\u003c/p>\n\u003cp>Born Anna Mae Bullock on Nov. 26, 1939, Turner grew up in rural Nutbush, Tenn., but also spent time in Knoxville, as her parents moved there for work. Growing up, she had a distant relationship with both her father, who abandoned the family when she was 13, and mother. But performing came naturally, and became her solace. In \u003cem>Tina Turner: My Love Story\u003c/em>, she describes music-filled shopping excursions — being 4 or 5 years old and being paid by salesgirls to sing radio hits she had memorized — and the exhilaration of leading her cousins, half-sister Evelyn, and sister Alline in pretend stage shows. Later, she honed her performing presence further by singing at picnics with a regionally famous trombonist named Mr. Bootsy Whitelaw.\u003c/p>\n\u003cp>Turner moved to St. Louis at age 16 to live with Alline and her mother, and began going to the famed East St. Louis venue Club Manhattan, where she first saw Ike Turner & The Kings of Rhythm. In 1957, she ended up joining the group after her impromptu performance of B.B. King’s “You Know I Love You” wowed the bandleader. The troupe was eventually rechristened the Ike and Tina Turner Revue, highlighting her elevated role.\u003c/p>\n\u003cfigure id=\"attachment_13929597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg\" alt=\"\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner of the husband-and-wife R&B duo Ike & Tina Turner poses for a portrait, circa 1973. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By all accounts, Ike was excessively cruel toward Tina, both personally and professionally. “Looking back, I realize that my relationship with Ike was doomed the day he figured out that I was going to be his meal ticket, his moneymaker,” Turner wrote in \u003cem>My Love Story\u003c/em>. She then described how she was a last-minute replacement to sing on “A Fool In Love” — which became the duo’s first hit, reaching No. 2 on the R&B charts in 1960 — and was impressive enough that a label head told Ike to make Tina the group’s centerpiece. “What went through Ike’s head when he heard that advice?” she continued. “He had to find a way to protect his interests, and that’s when the trouble began.”\u003c/p>\n\u003cp>Over the years, Turner has been open about certain aspects of their time together, although she told the\u003ca href=\"https://www.nytimes.com/2019/09/09/theater/tina-turner-musical.html\"> \u003cem>New York Times\u003c/em>\u003c/a> in 2019 that she’s never divulged all: “I think I’m ashamed. I feel I told enough.” But Ike was mentally controlling — for example, he rechristened her “Tina Turner” and then trademarked the name, both without her consent — and physically abusive. She was nearly penniless when she left him in 1976, while the pair were on tour in Dallas. “I walked out without anything and had to make it on my own for my family and everyone so I just went back to work for myself,” she said during a 2017 appearance on\u003ca href=\"https://people.com/music/tina-turner-ike-abusive-relationship-risked-life/\"> The Jonathan Ross Show\u003c/a>.[aside postid='arts_13894392']\u003c/p>\n\u003cp>Turner had released two solo albums while still performing with Ike, 1974’s \u003cem>Tina Turns the Country On! — \u003c/em>a stripped-down LP featuring her take on songs by Bob Dylan, Dolly Parton and Kris Kristofferson — and 1975’s rock-oriented covers album \u003cem>Acid Queen.\u003c/em> Her first entertainment forays post-split geared toward mainstream fare — the game show \u003cem>Hollywood Squares\u003c/em> and Cher’s variety TV series — and cabaret-style live concerts, as well as two albums that didn’t chart. She also recorded a sleek, electro-pop take on the Temptations’ “Ball of Confusion” on \u003cem>Music Of Quality & Distinction, Volume One\u003c/em>, an album released by Heaven 17 members Martyn Ware and Ian Craig Marsh under the name B.E.F.\u003c/p>\n\u003cp>The year 1984 would be pivotal for Turner. She dueted with David Bowie on the reggae-influenced title track of his \u003cem>Tonight \u003c/em>LP, and finally achieved widespread mainstream success on her own thanks to the blockbuster \u003cem>Private Dancer\u003c/em>. As with “Ball of Confusion,” the album embraced the decade’s slicker, cutting-edge production values—in fact, two songs were co-produced by Ware—while still highlighting Turner’s muscular voice and eclectic influences.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album’s tracklisting included the Mark Knopfler-penned title track, as well as covers of tunes by David Bowie (“1984”), the Beatles (“Help!”), and Ann Peebles (“I Can’t Stand the Rain”). \u003cem>Private Dancer\u003c/em> also featured her first and only solo No. 1 hit, the vulnerable and luxurious “What’s Love Got to Do With It.” The single, which also won Grammy Awards for Record of the Year and Best Female Pop Vocal Performance, boasted a cathartic, lived-in vocal performance that ushered in her sophisticated second act and cemented her reputation as a survivor, a tag and aesthetic she embraced.\u003c/p>\n\u003cp>Turner’s commercial renaissance continued as the decade progressed. She co-starred in the 1985 film \u003cem>Mad Max Beyond Thunderdome\u003c/em>, which spawned the dramatic power ballad “We Don’t Need Another Hero (Thunderdome)” and the Grammy-winning “One of the Living,” and racked up more hits with the Bryan Adams duet “It’s Only Love,” breezy seduction “Typical Male,” and the empowerment anthem “The Best.” With her spiky wig and power miniskirts that showed off her legendary legs, Turner also became an early MTV icon: She\u003ca href=\"https://www.youtube.com/watch?v=TmF8LJtc6Tw\"> performed\u003c/a> at the first-ever MTV Video Music Awards in 1984, and won Best Female Video the following year for “What’s Love Got to Do With It.”\u003c/p>\n\u003cp>Turner continued to be a commercial force into the ’90s, notably thanks to the 1993 biopic, \u003cem>What’s Love Got to Do With It\u003c/em>. Based on her 1986 autobiography, \u003cem>I, Tina\u003c/em>, the movie starred Laurence Fishburne as Ike and Angela Bassett as Tina. Both actors were nominated for Oscars, while Bassett won a Golden Globe for Best Performance by an Actress in a Motion Picture—Comedy/Musical. Turner herself also received a career boost, as the soundtrack song “I Don’t Wanna Fight” became a worldwide hit, including going top 10 in the U.S. In 1995, she landed another prestigious honor, singing the slinky, elegant James Bond theme song “GoldenEye” for the titular film.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Turner, who moved to Switzerland in 1995, started easing up on her workload in the late ’90s and ’00s, and ended up retiring after a 50th anniversary tour in 2009. However, she was still an active steward of her own legacy; in fact she also worked closely on the development of \u003cem>Tina: The Tina Turner Musical\u003c/em>, which opened on Broadway in fall 2019. And at the 2008 Grammy Awards, she performed a\u003ca href=\"https://www.youtube.com/watch?v=-sao4Ki3KHw\"> showstopping version\u003c/a> of “Proud Mary” with Beyoncé. With hindsight, it’s easy to interpret the moment as Turner passing the torch to a younger musician. However, the performance also once again reaffirmed that she was squarely in control of her rich musical legacy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tina+Turner%2C+rock+and+roll+icon%2C+dead+at+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tina Turner, a soul and rock powerhouse known for her octave-defying voice and mesmerizing stage moves, has died at the age of 83.\u003c/p>\n\u003cp>Her death was announced in \u003ca href=\"https://www.facebook.com/TinaTurner/posts/pfbid02vTXDmuG5YSzJkE5W1V38YSYVCiopsy1Y779NKEknhHvw1psagk6dPot2KFntAkRJl\">a statement on her official Facebook page\u003c/a>, but offered no details about the cause. In her 2018 memoir, \u003cem>Tina Turner: My Love Story\u003c/em>, Turner detailed a litany of health issues she had dealt with since 2013, including a stroke, intestinal cancer and kidney failure. Her second husband, Erwin Bach, donated a kidney to her in 2017, saving her life.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recording career that spanned six decades, Turner found fame both as a solo artist and in a duo with her first husband, Ike Turner. With the latter, she was inducted into the Rock & Roll Hall of Fame and became a staple of the U.S. pop and R&B charts in the 1960s and ’70s. The duo’s high-energy soul and rock was informed by Tina’s disparate vocal influences. She grew up listening to country music, but had many idols: ’50s R&B singers LaVern Baker and Faye Adams; gospel great Mahalia Jackson and rock pioneer Sister Rosetta Tharpe; blues legend B.B. King; and soul greats Ray Charles and Sam Cooke. Accordingly, she had a malleable and versatile voice, and could unleash a scalding rock growl, or dip into her lower register and sing the smoky blues or velvety R&B numbers. One of Ike & Tina’s most well-known songs, “River Deep, Mountain High,” was even a Phil Spector-produced, orchestral-gospel triumph.\u003c/p>\n\u003cp>An agile vocal interpreter, Turner also made other people’s iconic songs her own — adding a tone of yearning and desperation to The Beatles’ already-pleading “Come Together,” and layering on more of a country twang to The Rolling Stones’ “Honky Tonk Women.” Her signature tune, a fiery transformation of Creedence Clearwater Revival’s laid-back “Proud Mary,” became a showcase for her sultry soul drawl and raspy rock ‘n’ roll yelp. The latter song won Turner her first Grammy Award, for best R&B performance by a duo or group with vocal. She would win eight Grammys overall — including best female rock vocal performance for three years in a row during the ’80s.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n-AzcJMkbjA'\n title='//www.youtube.com/embed/n-AzcJMkbjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to her vocal prowess, Turner had a commanding stage presence that was often characterized as “electrifying.” This descriptor somehow always seemed like an understatement: At the microphone, Turner vibrated with energy, like a simmering pot about to boil over, and she possessed natural athleticism that translated to lithe but powerful onstage dancing. “Someone once called Tina ‘the female Mick Jagger,'” \u003cem>Rolling Stone’\u003c/em>s Ben Fong-Torres\u003ca href=\"https://www.rollingstone.com/music/music-features/tales-of-ike-and-tina-turner-237489/\"> wrote\u003c/a> in 1971. “In fact, to be more accurate, one should call Mick ‘the male Tina Turner.'” (This is no mere critical hyperbole: In the same \u003cem>Rolling Stone\u003c/em> feature, Turner herself insinuated that Jagger studied her moves rather closely when she and Ike toured with the Rolling Stones in 1969.) Naturally, when the pair teamed up for a\u003ca href=\"https://www.youtube.com/watch?v=d2c4114eKGQ\"> barnburning cover\u003c/a> of the Jacksons’ “State of Shock” at Live Aid in 1985, the combination was incendiary.\u003c/p>\n\u003cp>Born Anna Mae Bullock on Nov. 26, 1939, Turner grew up in rural Nutbush, Tenn., but also spent time in Knoxville, as her parents moved there for work. Growing up, she had a distant relationship with both her father, who abandoned the family when she was 13, and mother. But performing came naturally, and became her solace. In \u003cem>Tina Turner: My Love Story\u003c/em>, she describes music-filled shopping excursions — being 4 or 5 years old and being paid by salesgirls to sing radio hits she had memorized — and the exhilaration of leading her cousins, half-sister Evelyn, and sister Alline in pretend stage shows. Later, she honed her performing presence further by singing at picnics with a regionally famous trombonist named Mr. Bootsy Whitelaw.\u003c/p>\n\u003cp>Turner moved to St. Louis at age 16 to live with Alline and her mother, and began going to the famed East St. Louis venue Club Manhattan, where she first saw Ike Turner & The Kings of Rhythm. In 1957, she ended up joining the group after her impromptu performance of B.B. King’s “You Know I Love You” wowed the bandleader. The troupe was eventually rechristened the Ike and Tina Turner Revue, highlighting her elevated role.\u003c/p>\n\u003cfigure id=\"attachment_13929597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg\" alt=\"\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-74299189.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner of the husband-and-wife R&B duo Ike & Tina Turner poses for a portrait, circa 1973. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By all accounts, Ike was excessively cruel toward Tina, both personally and professionally. “Looking back, I realize that my relationship with Ike was doomed the day he figured out that I was going to be his meal ticket, his moneymaker,” Turner wrote in \u003cem>My Love Story\u003c/em>. She then described how she was a last-minute replacement to sing on “A Fool In Love” — which became the duo’s first hit, reaching No. 2 on the R&B charts in 1960 — and was impressive enough that a label head told Ike to make Tina the group’s centerpiece. “What went through Ike’s head when he heard that advice?” she continued. “He had to find a way to protect his interests, and that’s when the trouble began.”\u003c/p>\n\u003cp>Over the years, Turner has been open about certain aspects of their time together, although she told the\u003ca href=\"https://www.nytimes.com/2019/09/09/theater/tina-turner-musical.html\"> \u003cem>New York Times\u003c/em>\u003c/a> in 2019 that she’s never divulged all: “I think I’m ashamed. I feel I told enough.” But Ike was mentally controlling — for example, he rechristened her “Tina Turner” and then trademarked the name, both without her consent — and physically abusive. She was nearly penniless when she left him in 1976, while the pair were on tour in Dallas. “I walked out without anything and had to make it on my own for my family and everyone so I just went back to work for myself,” she said during a 2017 appearance on\u003ca href=\"https://people.com/music/tina-turner-ike-abusive-relationship-risked-life/\"> The Jonathan Ross Show\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turner had released two solo albums while still performing with Ike, 1974’s \u003cem>Tina Turns the Country On! — \u003c/em>a stripped-down LP featuring her take on songs by Bob Dylan, Dolly Parton and Kris Kristofferson — and 1975’s rock-oriented covers album \u003cem>Acid Queen.\u003c/em> Her first entertainment forays post-split geared toward mainstream fare — the game show \u003cem>Hollywood Squares\u003c/em> and Cher’s variety TV series — and cabaret-style live concerts, as well as two albums that didn’t chart. She also recorded a sleek, electro-pop take on the Temptations’ “Ball of Confusion” on \u003cem>Music Of Quality & Distinction, Volume One\u003c/em>, an album released by Heaven 17 members Martyn Ware and Ian Craig Marsh under the name B.E.F.\u003c/p>\n\u003cp>The year 1984 would be pivotal for Turner. She dueted with David Bowie on the reggae-influenced title track of his \u003cem>Tonight \u003c/em>LP, and finally achieved widespread mainstream success on her own thanks to the blockbuster \u003cem>Private Dancer\u003c/em>. As with “Ball of Confusion,” the album embraced the decade’s slicker, cutting-edge production values—in fact, two songs were co-produced by Ware—while still highlighting Turner’s muscular voice and eclectic influences.\u003c/p>\n\u003cfigure id=\"attachment_13929598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TinaTurner.singing.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner performs in Rotterdam, Netherlands, in 1985. \u003ccite>(Paul Bergen/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album’s tracklisting included the Mark Knopfler-penned title track, as well as covers of tunes by David Bowie (“1984”), the Beatles (“Help!”), and Ann Peebles (“I Can’t Stand the Rain”). \u003cem>Private Dancer\u003c/em> also featured her first and only solo No. 1 hit, the vulnerable and luxurious “What’s Love Got to Do With It.” The single, which also won Grammy Awards for Record of the Year and Best Female Pop Vocal Performance, boasted a cathartic, lived-in vocal performance that ushered in her sophisticated second act and cemented her reputation as a survivor, a tag and aesthetic she embraced.\u003c/p>\n\u003cp>Turner’s commercial renaissance continued as the decade progressed. She co-starred in the 1985 film \u003cem>Mad Max Beyond Thunderdome\u003c/em>, which spawned the dramatic power ballad “We Don’t Need Another Hero (Thunderdome)” and the Grammy-winning “One of the Living,” and racked up more hits with the Bryan Adams duet “It’s Only Love,” breezy seduction “Typical Male,” and the empowerment anthem “The Best.” With her spiky wig and power miniskirts that showed off her legendary legs, Turner also became an early MTV icon: She\u003ca href=\"https://www.youtube.com/watch?v=TmF8LJtc6Tw\"> performed\u003c/a> at the first-ever MTV Video Music Awards in 1984, and won Best Female Video the following year for “What’s Love Got to Do With It.”\u003c/p>\n\u003cp>Turner continued to be a commercial force into the ’90s, notably thanks to the 1993 biopic, \u003cem>What’s Love Got to Do With It\u003c/em>. Based on her 1986 autobiography, \u003cem>I, Tina\u003c/em>, the movie starred Laurence Fishburne as Ike and Angela Bassett as Tina. Both actors were nominated for Oscars, while Bassett won a Golden Globe for Best Performance by an Actress in a Motion Picture—Comedy/Musical. Turner herself also received a career boost, as the soundtrack song “I Don’t Wanna Fight” became a worldwide hit, including going top 10 in the U.S. In 1995, she landed another prestigious honor, singing the slinky, elegant James Bond theme song “GoldenEye” for the titular film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turner, who moved to Switzerland in 1995, started easing up on her workload in the late ’90s and ’00s, and ended up retiring after a 50th anniversary tour in 2009. However, she was still an active steward of her own legacy; in fact she also worked closely on the development of \u003cem>Tina: The Tina Turner Musical\u003c/em>, which opened on Broadway in fall 2019. And at the 2008 Grammy Awards, she performed a\u003ca href=\"https://www.youtube.com/watch?v=-sao4Ki3KHw\"> showstopping version\u003c/a> of “Proud Mary” with Beyoncé. With hindsight, it’s easy to interpret the moment as Turner passing the torch to a younger musician. However, the performance also once again reaffirmed that she was squarely in control of her rich musical legacy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tina+Turner%2C+rock+and+roll+icon%2C+dead+at+83&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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