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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15396847/david-crosby\">David Crosby\u003c/a>, a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>, has died at 81. His publicist Michael Jensen confirmed the artist’s death to NPR; no cause of death was given.\u003c/p>\n\u003cp>Crosby had long dealt with serious health problems, including multiple heart attacks, diabetes and hepatitis C, for which he had a liver transplant in 1994. In spite of those challenges, the veteran musician enjoyed a creative hot streak in recent years. He added five solo albums to his catalog between 2014 and 2021, and toured frequently with two sets of collaborators, the Lighthouse Band (which featured \u003ca href=\"https://www.npr.org/artists/474878869/snarky-puppy\">Snarky Puppy\u003c/a> bandleader Michael League) and the Sky Trails Band, featuring his son, James Raymond, on keyboards.\u003c/p>\n\u003cp>Crosby’s focus on touring stretched all the way back to his early professional days, when he was a nomadic folk musician honing his performance skills on the road. In the late 1950s, Crosby started performing at coffeehouses in Santa Barbara, Calif., but soon began traveling around the U.S., popping up in southern Florida, Chicago and Boulder, Colo. Crosby also spent a formative period in Greenwich Village, where he teamed up to play at the then-new Bitter End with Chicago musician Terry Callier.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His long and successful solo career notwithstanding, Crosby thrived on collaboration — a trait he discovered as a young child, after being mesmerized by a symphony orchestra performance. “The idea of cooperative effort to make something bigger than any one person could ever do was stuck in my head,” he wrote in his 1988 autobiography, \u003cem>Long Time Gone\u003c/em>. “That’s why I love being a harmony singer, why I love being in a group.”\u003c/p>\n\u003cp>Crosby’s first big successes came as a founding member of expansive California country-folk troupe The Byrds. The group hit its commercial peak during his tenure, earning two No. 1 singles — covers of \u003ca href=\"https://www.npr.org/artists/15869924/pete-seeger\">Pete Seeger\u003c/a>’s “Turn! Turn! Turn!” and \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>’s ‘Mr. Tambourine Man’ — and reaching the Top 20 with the stormy classic “Eight Miles High.” Crosby co-wrote the latter, and penned several other memorable Byrds songs, including the lilting, jangly “Lady Friend.” He was instrumental in helping the group develop its harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk, and has taken credit for introducing bandmate \u003ca href=\"https://www.npr.org/artists/16269974/roger-mcguinn\">Roger McGuinn\u003c/a> to the music of \u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> and \u003ca href=\"https://www.npr.org/artists/17093771/ravi-shankar\">Ravi Shankar\u003c/a>.\u003c/p>\n\u003cp>In 1967, Crosby was fired from the Byrds over growing personality and creative conflicts (although he later returned to produce and perform on 1973’s \u003cem>Byrds\u003c/em>). At loose ends, he immersed himself in sailing, one of his childhood passions, buying a schooner for $25,000 with money borrowed from The Monkees’ Peter Tork. The boat would be a source of solace and inspiration for decades; he wrote songs including “Wooden Ships,” “The Lee Shore” and “Page 43” while on board.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-ZZYXlJ8-k0\u003c/p>\n\u003cp>Crosby was born on Aug. 14, 1941, and grew up in Southern California. His father was cinematographer Floyd Crosby, who won an Academy Award for his work on 1931’s \u003cem>Tabu: A Story of the South Seas\u003c/em>, as well as a Golden Globe for cinematography for 1952’s \u003cem>High Noon\u003c/em>. (Crosby himself influenced another notable corner of Hollywood: He often \u003ca href=\"https://twitter.com/thedavidcrosby/status/1018631062279221248\">said\u003c/a> that Dennis Hopper took inspiration from his look and attitude for 1969’s \u003cem>Easy Rider\u003c/em>.)\u003c/p>\n\u003cp>As a kid, Crosby fell hard for \u003ca href=\"https://www.npr.org/artists/15181907/the-everly-brothers\">The Everly Brothers\u003c/a>, the genesis of his lifelong fascination with close harmony, further cemented by his family’s regular sing-along sessions. His older brother, Ethan, introduced him to jazz, a genre he would touch on throughout his career, including with his late ‘90s/early ‘00s band CPR and on a ruminative 2017 solo album, \u003cem>Sky Trails.\u003c/em>\u003c/p>\n\u003cp>Crosby’s formative influences became more prominent in his partnership with \u003ca href=\"https://www.npr.org/artists/15399328/stephen-stills\">Stephen Stills\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15412309/graham-nash\">Graham Nash\u003c/a>, with whom he explored novel ways of expressing harmony. In \u003cem>Long Time Gone\u003c/em>, Crosby deconstructs the group’s unique vocal approach with typical concision, noting the group sang “nonparallel stuff” influenced by classical music, late ‘50s and early ‘60s jazz and the Everlys. “I did some of my very best work being subtle, moving the middle part around in internal shifts that kept it happening,” he wrote.\u003c/p>\n\u003cp>Crosby’s ocean-clear tenor meshed seamlessly with the voices of Stills and Nash in hushed and haunting ways, particularly on his own “Guinnevere.” His songwriting contributions pushed the band in new directions — in particular, the rhythmic cadences of “Déjà Vu” and the loose arrangements and boho instrumental tone of “Wooden Ships.”\u003c/p>\n\u003cp>As a trio, Crosby, Stills and Nash was both commercially and critically adored. Its self-titled 1969 debut led to an performance at Woodstock and Grammy for best new artist, while 1970’s \u003cem>Déjà Vu \u003c/em>— by which point Neil Young had joined, adding another letter to the band’s name — touched on both the comforts of tradition and the seismic generational shifts that were underway. Months after \u003cem>Déjà Vu\u003c/em>‘s release, CSNY would become a leading voice of the nation’s anti-war movement, recording the Young-penned “Ohio” in response to the May 1970 shooting of four students at Kent State University. His 1971 solo album, \u003cem>If I Could Only Remember My Name\u003c/em>, a sprawling psych-folk touchstone offering studio intricacy and experimental gambits, further illuminated his off-the-beaten-path outlook.\u003c/p>\n\u003cfigure id=\"attachment_13923886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg\" alt=\"a four-piece band of white men with long hair record music in a studio in the 1970s\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Crosby, Stills, Nash & Young recording in 1970. \u003ccite>(RB/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Crosby — who was inducted into the Rock & Roll Hall of Fame twice, as a member of the Byrds and CSN — continued performing with various collaborators, with Graham Nash serving as his steadiest foil well into the mid-2010s. Ever opinionated and brutally honest, he was an open book about his personal flaws and failings, as well as how he felt about his peers. This no-nonsense personality made him both endearing and prickly, especially as a bandmate — CSNY’s internal conflicts and disagreements were legendary.\u003c/p>\n\u003cp>But also, much later and perhaps surprisingly, it made him a natural for the concise and quippy nature of Twitter. Crosby shared wide-ranging thoughts about politics and music on the site, and answered fan questions, both about his own career (he told one fan he “was not the right guy for the job” to when asked whether it was true that he was supposed to have worked on Leonard Cohen’s second album) and about those in his orbit (“Was Jerry Garcia a tenor?”\u003ca href=\"https://twitter.com/thedavidcrosby/status/961950937051877376\"> Answer\u003c/a>: “Tenor/baritone.”). Such lovable terseness even landed him \u003ca href=\"https://www.rollingstone.com/t/ask-croz/\">an advice column\u003c/a> in \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>Crosby’s career was marked by countless reinventions and second chances. Years of well-documented substance abuse led to tumultuous relationships in and out of music, multiple arrests and even a nine-month stint in a Texas prison in the ‘80s. Remarkably, his voice remained strong and unweathered, a fact Crosby himself found inexplicable, as he explained to Cameron Crowe in the 2019 documentary \u003cem>David Crosby: Remember My Name\u003c/em>. Yet the film also reflected plenty of humility, portraying a musician facing his mortality by trying not to dwell on the past.\u003c/p>\n\u003cp>“I’ve hurt a lot of people,” \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/18/remember-my-name-david-crosby\">Crosby told \u003cem>Here & Now\u003c/em>\u003c/a>, the midday news show from NPR and WBUR, in 2019. “I’ve helped a lot more. I just have to be able to look at it and understand it and learn from it. I’m not beating myself up about any of it. Truthfully, I’m actually pretty happy with the guy I am now. I’m trying real hard to be a decent human being. And I like it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15396847/david-crosby\">David Crosby\u003c/a>, a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>, has died at 81. His publicist Michael Jensen confirmed the artist’s death to NPR; no cause of death was given.\u003c/p>\n\u003cp>Crosby had long dealt with serious health problems, including multiple heart attacks, diabetes and hepatitis C, for which he had a liver transplant in 1994. In spite of those challenges, the veteran musician enjoyed a creative hot streak in recent years. He added five solo albums to his catalog between 2014 and 2021, and toured frequently with two sets of collaborators, the Lighthouse Band (which featured \u003ca href=\"https://www.npr.org/artists/474878869/snarky-puppy\">Snarky Puppy\u003c/a> bandleader Michael League) and the Sky Trails Band, featuring his son, James Raymond, on keyboards.\u003c/p>\n\u003cp>Crosby’s focus on touring stretched all the way back to his early professional days, when he was a nomadic folk musician honing his performance skills on the road. In the late 1950s, Crosby started performing at coffeehouses in Santa Barbara, Calif., but soon began traveling around the U.S., popping up in southern Florida, Chicago and Boulder, Colo. Crosby also spent a formative period in Greenwich Village, where he teamed up to play at the then-new Bitter End with Chicago musician Terry Callier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His long and successful solo career notwithstanding, Crosby thrived on collaboration — a trait he discovered as a young child, after being mesmerized by a symphony orchestra performance. “The idea of cooperative effort to make something bigger than any one person could ever do was stuck in my head,” he wrote in his 1988 autobiography, \u003cem>Long Time Gone\u003c/em>. “That’s why I love being a harmony singer, why I love being in a group.”\u003c/p>\n\u003cp>Crosby’s first big successes came as a founding member of expansive California country-folk troupe The Byrds. The group hit its commercial peak during his tenure, earning two No. 1 singles — covers of \u003ca href=\"https://www.npr.org/artists/15869924/pete-seeger\">Pete Seeger\u003c/a>’s “Turn! Turn! Turn!” and \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>’s ‘Mr. Tambourine Man’ — and reaching the Top 20 with the stormy classic “Eight Miles High.” Crosby co-wrote the latter, and penned several other memorable Byrds songs, including the lilting, jangly “Lady Friend.” He was instrumental in helping the group develop its harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk, and has taken credit for introducing bandmate \u003ca href=\"https://www.npr.org/artists/16269974/roger-mcguinn\">Roger McGuinn\u003c/a> to the music of \u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> and \u003ca href=\"https://www.npr.org/artists/17093771/ravi-shankar\">Ravi Shankar\u003c/a>.\u003c/p>\n\u003cp>In 1967, Crosby was fired from the Byrds over growing personality and creative conflicts (although he later returned to produce and perform on 1973’s \u003cem>Byrds\u003c/em>). At loose ends, he immersed himself in sailing, one of his childhood passions, buying a schooner for $25,000 with money borrowed from The Monkees’ Peter Tork. The boat would be a source of solace and inspiration for decades; he wrote songs including “Wooden Ships,” “The Lee Shore” and “Page 43” while on board.\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/-ZZYXlJ8-k0'\n title='//www.youtube.com/embed/-ZZYXlJ8-k0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Crosby was born on Aug. 14, 1941, and grew up in Southern California. His father was cinematographer Floyd Crosby, who won an Academy Award for his work on 1931’s \u003cem>Tabu: A Story of the South Seas\u003c/em>, as well as a Golden Globe for cinematography for 1952’s \u003cem>High Noon\u003c/em>. (Crosby himself influenced another notable corner of Hollywood: He often \u003ca href=\"https://twitter.com/thedavidcrosby/status/1018631062279221248\">said\u003c/a> that Dennis Hopper took inspiration from his look and attitude for 1969’s \u003cem>Easy Rider\u003c/em>.)\u003c/p>\n\u003cp>As a kid, Crosby fell hard for \u003ca href=\"https://www.npr.org/artists/15181907/the-everly-brothers\">The Everly Brothers\u003c/a>, the genesis of his lifelong fascination with close harmony, further cemented by his family’s regular sing-along sessions. His older brother, Ethan, introduced him to jazz, a genre he would touch on throughout his career, including with his late ‘90s/early ‘00s band CPR and on a ruminative 2017 solo album, \u003cem>Sky Trails.\u003c/em>\u003c/p>\n\u003cp>Crosby’s formative influences became more prominent in his partnership with \u003ca href=\"https://www.npr.org/artists/15399328/stephen-stills\">Stephen Stills\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15412309/graham-nash\">Graham Nash\u003c/a>, with whom he explored novel ways of expressing harmony. In \u003cem>Long Time Gone\u003c/em>, Crosby deconstructs the group’s unique vocal approach with typical concision, noting the group sang “nonparallel stuff” influenced by classical music, late ‘50s and early ‘60s jazz and the Everlys. “I did some of my very best work being subtle, moving the middle part around in internal shifts that kept it happening,” he wrote.\u003c/p>\n\u003cp>Crosby’s ocean-clear tenor meshed seamlessly with the voices of Stills and Nash in hushed and haunting ways, particularly on his own “Guinnevere.” His songwriting contributions pushed the band in new directions — in particular, the rhythmic cadences of “Déjà Vu” and the loose arrangements and boho instrumental tone of “Wooden Ships.”\u003c/p>\n\u003cp>As a trio, Crosby, Stills and Nash was both commercially and critically adored. Its self-titled 1969 debut led to an performance at Woodstock and Grammy for best new artist, while 1970’s \u003cem>Déjà Vu \u003c/em>— by which point Neil Young had joined, adding another letter to the band’s name — touched on both the comforts of tradition and the seismic generational shifts that were underway. Months after \u003cem>Déjà Vu\u003c/em>‘s release, CSNY would become a leading voice of the nation’s anti-war movement, recording the Young-penned “Ohio” in response to the May 1970 shooting of four students at Kent State University. His 1971 solo album, \u003cem>If I Could Only Remember My Name\u003c/em>, a sprawling psych-folk touchstone offering studio intricacy and experimental gambits, further illuminated his off-the-beaten-path outlook.\u003c/p>\n\u003cfigure id=\"attachment_13923886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg\" alt=\"a four-piece band of white men with long hair record music in a studio in the 1970s\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Crosby, Stills, Nash & Young recording in 1970. \u003ccite>(RB/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Crosby — who was inducted into the Rock & Roll Hall of Fame twice, as a member of the Byrds and CSN — continued performing with various collaborators, with Graham Nash serving as his steadiest foil well into the mid-2010s. Ever opinionated and brutally honest, he was an open book about his personal flaws and failings, as well as how he felt about his peers. This no-nonsense personality made him both endearing and prickly, especially as a bandmate — CSNY’s internal conflicts and disagreements were legendary.\u003c/p>\n\u003cp>But also, much later and perhaps surprisingly, it made him a natural for the concise and quippy nature of Twitter. Crosby shared wide-ranging thoughts about politics and music on the site, and answered fan questions, both about his own career (he told one fan he “was not the right guy for the job” to when asked whether it was true that he was supposed to have worked on Leonard Cohen’s second album) and about those in his orbit (“Was Jerry Garcia a tenor?”\u003ca href=\"https://twitter.com/thedavidcrosby/status/961950937051877376\"> Answer\u003c/a>: “Tenor/baritone.”). Such lovable terseness even landed him \u003ca href=\"https://www.rollingstone.com/t/ask-croz/\">an advice column\u003c/a> in \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>Crosby’s career was marked by countless reinventions and second chances. Years of well-documented substance abuse led to tumultuous relationships in and out of music, multiple arrests and even a nine-month stint in a Texas prison in the ‘80s. Remarkably, his voice remained strong and unweathered, a fact Crosby himself found inexplicable, as he explained to Cameron Crowe in the 2019 documentary \u003cem>David Crosby: Remember My Name\u003c/em>. Yet the film also reflected plenty of humility, portraying a musician facing his mortality by trying not to dwell on the past.\u003c/p>\n\u003cp>“I’ve hurt a lot of people,” \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/18/remember-my-name-david-crosby\">Crosby told \u003cem>Here & Now\u003c/em>\u003c/a>, the midday news show from NPR and WBUR, in 2019. “I’ve helped a lot more. I just have to be able to look at it and understand it and learn from it. I’m not beating myself up about any of it. Truthfully, I’m actually pretty happy with the guy I am now. I’m trying real hard to be a decent human being. And I like it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crosby%2C+Stills+%26+Nash+co-founder+David+Crosby+has+died+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A 10th Anniversary Weekend for the SFJAZZ Center",
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"content": "\u003cp>“I went to the school of McCoy Tyner. I graduated from his university,” said Gary Bartz, reflecting on the celebrated pianist onstage at the SFJAZZ center Thursday night. “I miss him, but I don’t miss him, because he’s still with me.”\u003c/p>\n\u003cp>Later, in a searching, quick-paced solo on the composition “Hope,” Bartz, who first joined Tyner’s group in 1968, showed the strength of his diploma. Bartz also proved that, at 82, age hasn’t slowed his imagination. \u003c/p>\n\u003cp>“Imagination” is a good starting point for both the music of McCoy Tyner, celebrated onstage Thursday night, and the SFJAZZ Center, which \u003ca href=\"https://www.sfjazz.org/10th-anniversary/\">marks its 10-year anniversary this weekend\u003c/a>. Performers over the next three days include Stanley Clarke, Laurie Anderson, Bill Frisell, Jason Moran, Mary Stallings, Miguel Zenon, Terri Lyne Carrington and more.\u003c/p>\n\u003cp>[aside postID='arts_13910898']During the two-hour performance from Bartz, Joe Lovano, Eddie Henderson, Jeff “Tain” Watts, Kenny Barron and Gerald Cannon, I couldn’t help but reflect on the imagination I’d seen on the same stage since \u003ca href=\"https://bohemian.com/live-review-the-sfjazz-center-opens-with-style-intimacy-and-stars-in-san-francisco/\">covering its opening week\u003c/a> in 2013. Jason Moran \u003ca href=\"https://bohemian.com/live-review-jason-moran-and-live-skateboarding-at-sfjazz-center/\">performing alongside live skateboarders on a halfpipe\u003c/a>, Herbie Hancock \u003ca href=\"https://www.kqed.org/arts/13848102/all-star-tributes-to-jazz-legend-wayne-shorter-this-weekend\">continuing to explore new sounds\u003c/a>, Shabaka Hutchings \u003ca href=\"https://www.instagram.com/p/Boxun1blIs2/\">pushing jazz’s boundaries\u003c/a> and a \u003ca href=\"https://www.kqed.org/arts/10642747/live-review-joni-mitchell-gala-tribute-at-sfjazz\">stunning tribute to Joni Mitchell\u003c/a>, among others.\u003c/p>\n\u003cp>Onstage, extended solos by Lovano and Watts reached points of no return, with Henderson providing a counterpoint of gossamer subtleties. Barron had the unenviable task of filling the McCoy Tyner role, which he did adroitly save for the fact that, unlike Tyner, he was not born with seven left hands. It was a thrill to witness the polar opposite of Barron’s ballad side — his solo on “Walk Spirit Talk Spirit” Thursday night was a fiery, prodding excursion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before “Contemplation” and “Fly Like the Wind” closed the main set, Bartz reflected on the changing expectations of jazz at the end of the 1960s. “We didn’t follow the Blue Note rules,” he said of recording for the famed record label. “They didn’t know what to do with it.”\u003c/p>\n\u003cp>After last night, I can only say: Here’s to breaking the rules.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>SFJAZZ’s 10th Anniversary Weekend continues through Jan. 15 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/10th-anniversary/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I went to the school of McCoy Tyner. I graduated from his university,” said Gary Bartz, reflecting on the celebrated pianist onstage at the SFJAZZ center Thursday night. “I miss him, but I don’t miss him, because he’s still with me.”\u003c/p>\n\u003cp>Later, in a searching, quick-paced solo on the composition “Hope,” Bartz, who first joined Tyner’s group in 1968, showed the strength of his diploma. Bartz also proved that, at 82, age hasn’t slowed his imagination. \u003c/p>\n\u003cp>“Imagination” is a good starting point for both the music of McCoy Tyner, celebrated onstage Thursday night, and the SFJAZZ Center, which \u003ca href=\"https://www.sfjazz.org/10th-anniversary/\">marks its 10-year anniversary this weekend\u003c/a>. Performers over the next three days include Stanley Clarke, Laurie Anderson, Bill Frisell, Jason Moran, Mary Stallings, Miguel Zenon, Terri Lyne Carrington and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the two-hour performance from Bartz, Joe Lovano, Eddie Henderson, Jeff “Tain” Watts, Kenny Barron and Gerald Cannon, I couldn’t help but reflect on the imagination I’d seen on the same stage since \u003ca href=\"https://bohemian.com/live-review-the-sfjazz-center-opens-with-style-intimacy-and-stars-in-san-francisco/\">covering its opening week\u003c/a> in 2013. Jason Moran \u003ca href=\"https://bohemian.com/live-review-jason-moran-and-live-skateboarding-at-sfjazz-center/\">performing alongside live skateboarders on a halfpipe\u003c/a>, Herbie Hancock \u003ca href=\"https://www.kqed.org/arts/13848102/all-star-tributes-to-jazz-legend-wayne-shorter-this-weekend\">continuing to explore new sounds\u003c/a>, Shabaka Hutchings \u003ca href=\"https://www.instagram.com/p/Boxun1blIs2/\">pushing jazz’s boundaries\u003c/a> and a \u003ca href=\"https://www.kqed.org/arts/10642747/live-review-joni-mitchell-gala-tribute-at-sfjazz\">stunning tribute to Joni Mitchell\u003c/a>, among others.\u003c/p>\n\u003cp>Onstage, extended solos by Lovano and Watts reached points of no return, with Henderson providing a counterpoint of gossamer subtleties. Barron had the unenviable task of filling the McCoy Tyner role, which he did adroitly save for the fact that, unlike Tyner, he was not born with seven left hands. It was a thrill to witness the polar opposite of Barron’s ballad side — his solo on “Walk Spirit Talk Spirit” Thursday night was a fiery, prodding excursion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before “Contemplation” and “Fly Like the Wind” closed the main set, Bartz reflected on the changing expectations of jazz at the end of the 1960s. “We didn’t follow the Blue Note rules,” he said of recording for the famed record label. “They didn’t know what to do with it.”\u003c/p>\n\u003cp>After last night, I can only say: Here’s to breaking the rules.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>SFJAZZ’s 10th Anniversary Weekend continues through Jan. 15 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/10th-anniversary/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lisa Marie Presley, the only child of Elvis Presley and a singer-songwriter dedicated to her father’s legacy, died Thursday after being hospitalized for a medical emergency. She was 54.\u003c/p>\n\u003cp>Her death in a Los Angeles hospital was confirmed by her mother, Priscilla, a few hours after her daughter was rushed to the hospital by paramedics after a medical episode at her home.\u003c/p>\n\u003cp>“It is with a heavy heart that I must share the devastating news that my beautiful daughter Lisa Marie has left us,” Priscilla Presley said in a statement. “She was the most passionate, strong and loving woman I have ever known.”\u003c/p>\n\u003cp>Presley shared her father’s brooding charisma — the hooded eyes, the insolent smile, the low, sultry voice — and followed him professionally, releasing her own rock albums in the 2000s, and appearing on stage with Pat Benatar and Richard Hawley among others.\u003c/p>\n\u003cp>She even formed direct musical ties with her father, joining her voice to such Elvis recordings as “In the Ghetto” and “Don’t Cry Daddy,” a mournful ballad which had reminded him of the early death of his mother (and Lisa Marie’s grandmother), Gladys Presley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been all my life,” she told The Associated Press in 2012, speaking of her father’s influence. “It’s not something that I now listen to and it’s different. Although I might listen closer. I remain consistent on the fact that I’ve always been an admirer. He’s always influenced me.”\u003c/p>\n\u003cp>Her birth, nine months exactly after her parents’ wedding, was international news and her background was rarely far from her mind. With the release last year of Baz Luhrmann’s major musical feature “Elvis,” Lisa Marie and Priscilla Presley had been attending red carpets and award shows alongside stars from the film.\u003c/p>\n\u003cp>She was at the Golden Globes on Tuesday, on hand to celebrate Austin Butler’s award for playing her father. Just days before, she was in Memphis at Graceland — the mansion where Elvis lived, and died — on Jan. 8 to celebrate her father’s birth anniversary.\u003c/p>\n\u003cp>Presley lived with her mother, an actor known for “Dallas” and the “Naked Gun” movies, in California after her parents split up in 1973. She recalled early memories of her dad during her visits to Graceland, riding golf carts through the neighborhood and seeing his daily entrances down the stairs.\u003c/p>\n\u003cp>“He was always fully, fully geared up. You’d never see him in his pajamas coming down the steps, ever,” she told The Associated Press in 2012. “You’d never see him in anything but ‘ready to be seen’ attire.”\u003c/p>\n\u003cp>Elvis Presley died in August 1977, when he was just 42, and she 9 years old. Lisa Marie was staying at Graceland at the time and would recall him kissing her goodnight hours before he would collapse and never recover. When she next saw him, the following day, he was lying face down in the bathroom.\u003c/p>\n\u003cp>“I just had a feeling,” she told Rolling Stone in 2003. “He wasn’t doing well. All I know is I had it (a feeling), and it happened. I was obsessed with death at a very early age.”\u003c/p>\n\u003cp>She would later make headlines of her own. Struggles with drugs and some very public marriages. Her four husbands included Michael Jackson and Nicolas Cage.\u003c/p>\n\u003cp>Jackson and Presley were married in the Dominican Republic in 1994, but the marriage ended two years later and was defined by numerous awkward public appearances, including an unexpected kiss from Jackson during the MTV Video Music Awards and a joint interview with Diane Sawyer when she defended her husband against allegations he had sexually abused a minor.\u003c/p>\n\u003cp>Her other celebrity marriage was even shorter: Cage filed for divorce after four months of marriage in 2002.\u003c/p>\n\u003cp>“I had to sort of run into many walls and trees,” she told the AP in 2012. “But now I can also look back at it and tell you all the stuff that was going on around me and all the different people around me and all the awww — and it was not a good situation anyway. That wasn’t helping. Either way, it was a growing process. It was just in a different way. It was just out in front of everybody all the time. Because it’s all documented of course.”\u003c/p>\n\u003cp>Lisa Marie became involved in numerous humanitarian causes, from anti-poverty programs administered through the Elvis Presley Charitable Foundation to relief efforts after Hurricane Katrina. She would receive formal citations from New Orleans and Memphis, Tennessee for her work.\u003c/p>\n\u003cp>Presley had two children, actor Riley Keough, born in 1989, and Benjamin Keough, born in 1992, with her former husband Danny Keough. She also had twin daughters, Harper and Finley Lockwood, with ex-husband Michael Lockwood in 2008.\u003c/p>\n\u003cp>Her marriage to Lockwood would end in a combative and protracted divorce that began in 2016 and still was not resolved when she died, though they were declared single in 2021. The fight saw the girls, now 15, put temporarily in protective custody in 2017. Presley and Lockwood later had joint custody, but were still at odds over the issue, with Lockwood seeking more child support from Presley.\u003c/p>\n\u003cp>Benjamin Keough died by suicide in 2020 at 27. Presley was vocal about her grief, writing in an essay last August that she had “been living in the horrific reality of its unrelenting grips since my son’s death two years ago.”\u003c/p>\n\u003cp>“I’ve dealt with death, grief and loss since the age of 9 years old. I’ve had more than anyone’s fair share of it in my lifetime and somehow, I’ve made it this far,” she wrote in an essay shared with People magazine.\u003c/p>\n\u003cp>“But this one, the death of my beautiful, beautiful son? The sweetest and most incredible being that I have ever had the privilege of knowing, who made me feel so honored every single day to be his mother? Who was so much like his grandfather on so many levels that he actually scared me? Which made me worry about him even more than I naturally would have?” the essay continued. “No. Just no … no no no no …”\u003c/p>\n\u003cp>Lisa Marie became the sole heir of the Elvis Presley Trust after her father died. Along with Elvis Presley Enterprises, the trust managed Graceland and other assets until she sold her majority interest in 2005. She retained ownership of Graceland Mansion itself, the 13 acres around it and items inside the home. Her son is buried there, along with her father and other members of the Presley family.\u003c/p>\n\u003cp>Lisa Marie Presley is a former Scientologist — her son was born in 1992 under guidelines set by Church of Scientology founder L. Ron Hubbard, according to an AP story at the time — but later broke with Scientology.\u003c/p>\n\u003cp>Lisa Marie and Priscilla Presley would make regular trips to Graceland during huge fan celebrations on the anniversaries of Elvis’ death and birthday. One of the two airplanes at Graceland is named the Lisa Marie.\u003c/p>\n\u003cp>After her first album “To Whom It May Concern,” in 2003, some fans came out to see her perform just out of curiosity given her famous family, she told the AP in 2005.\u003c/p>\n\u003cp>“First I had to overcome a pre-speculated idea of me,” she said of the barriers to becoming a singer-songwriter.\u003c/p>\n\u003cp>“I had to sort of burst through that and introduce myself, and that was the first hurdle, and then now sing in front of everybody, and then that was the second one, and I’m the offspring of — you know, who I’m the offspring of — I had a few hurdles to get through, no doubt about it,” she continued. “But the scales never tipped in the other direction too much.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Entertainment Writers Andrew Dalton and Ryan Pearson contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lisa Marie Presley, the only child of Elvis Presley and a singer-songwriter dedicated to her father’s legacy, died Thursday after being hospitalized for a medical emergency. She was 54.\u003c/p>\n\u003cp>Her death in a Los Angeles hospital was confirmed by her mother, Priscilla, a few hours after her daughter was rushed to the hospital by paramedics after a medical episode at her home.\u003c/p>\n\u003cp>“It is with a heavy heart that I must share the devastating news that my beautiful daughter Lisa Marie has left us,” Priscilla Presley said in a statement. “She was the most passionate, strong and loving woman I have ever known.”\u003c/p>\n\u003cp>Presley shared her father’s brooding charisma — the hooded eyes, the insolent smile, the low, sultry voice — and followed him professionally, releasing her own rock albums in the 2000s, and appearing on stage with Pat Benatar and Richard Hawley among others.\u003c/p>\n\u003cp>She even formed direct musical ties with her father, joining her voice to such Elvis recordings as “In the Ghetto” and “Don’t Cry Daddy,” a mournful ballad which had reminded him of the early death of his mother (and Lisa Marie’s grandmother), Gladys Presley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s been all my life,” she told The Associated Press in 2012, speaking of her father’s influence. “It’s not something that I now listen to and it’s different. Although I might listen closer. I remain consistent on the fact that I’ve always been an admirer. He’s always influenced me.”\u003c/p>\n\u003cp>Her birth, nine months exactly after her parents’ wedding, was international news and her background was rarely far from her mind. With the release last year of Baz Luhrmann’s major musical feature “Elvis,” Lisa Marie and Priscilla Presley had been attending red carpets and award shows alongside stars from the film.\u003c/p>\n\u003cp>She was at the Golden Globes on Tuesday, on hand to celebrate Austin Butler’s award for playing her father. Just days before, she was in Memphis at Graceland — the mansion where Elvis lived, and died — on Jan. 8 to celebrate her father’s birth anniversary.\u003c/p>\n\u003cp>Presley lived with her mother, an actor known for “Dallas” and the “Naked Gun” movies, in California after her parents split up in 1973. She recalled early memories of her dad during her visits to Graceland, riding golf carts through the neighborhood and seeing his daily entrances down the stairs.\u003c/p>\n\u003cp>“He was always fully, fully geared up. You’d never see him in his pajamas coming down the steps, ever,” she told The Associated Press in 2012. “You’d never see him in anything but ‘ready to be seen’ attire.”\u003c/p>\n\u003cp>Elvis Presley died in August 1977, when he was just 42, and she 9 years old. Lisa Marie was staying at Graceland at the time and would recall him kissing her goodnight hours before he would collapse and never recover. When she next saw him, the following day, he was lying face down in the bathroom.\u003c/p>\n\u003cp>“I just had a feeling,” she told Rolling Stone in 2003. “He wasn’t doing well. All I know is I had it (a feeling), and it happened. I was obsessed with death at a very early age.”\u003c/p>\n\u003cp>She would later make headlines of her own. Struggles with drugs and some very public marriages. Her four husbands included Michael Jackson and Nicolas Cage.\u003c/p>\n\u003cp>Jackson and Presley were married in the Dominican Republic in 1994, but the marriage ended two years later and was defined by numerous awkward public appearances, including an unexpected kiss from Jackson during the MTV Video Music Awards and a joint interview with Diane Sawyer when she defended her husband against allegations he had sexually abused a minor.\u003c/p>\n\u003cp>Her other celebrity marriage was even shorter: Cage filed for divorce after four months of marriage in 2002.\u003c/p>\n\u003cp>“I had to sort of run into many walls and trees,” she told the AP in 2012. “But now I can also look back at it and tell you all the stuff that was going on around me and all the different people around me and all the awww — and it was not a good situation anyway. That wasn’t helping. Either way, it was a growing process. It was just in a different way. It was just out in front of everybody all the time. Because it’s all documented of course.”\u003c/p>\n\u003cp>Lisa Marie became involved in numerous humanitarian causes, from anti-poverty programs administered through the Elvis Presley Charitable Foundation to relief efforts after Hurricane Katrina. She would receive formal citations from New Orleans and Memphis, Tennessee for her work.\u003c/p>\n\u003cp>Presley had two children, actor Riley Keough, born in 1989, and Benjamin Keough, born in 1992, with her former husband Danny Keough. She also had twin daughters, Harper and Finley Lockwood, with ex-husband Michael Lockwood in 2008.\u003c/p>\n\u003cp>Her marriage to Lockwood would end in a combative and protracted divorce that began in 2016 and still was not resolved when she died, though they were declared single in 2021. The fight saw the girls, now 15, put temporarily in protective custody in 2017. Presley and Lockwood later had joint custody, but were still at odds over the issue, with Lockwood seeking more child support from Presley.\u003c/p>\n\u003cp>Benjamin Keough died by suicide in 2020 at 27. Presley was vocal about her grief, writing in an essay last August that she had “been living in the horrific reality of its unrelenting grips since my son’s death two years ago.”\u003c/p>\n\u003cp>“I’ve dealt with death, grief and loss since the age of 9 years old. I’ve had more than anyone’s fair share of it in my lifetime and somehow, I’ve made it this far,” she wrote in an essay shared with People magazine.\u003c/p>\n\u003cp>“But this one, the death of my beautiful, beautiful son? The sweetest and most incredible being that I have ever had the privilege of knowing, who made me feel so honored every single day to be his mother? Who was so much like his grandfather on so many levels that he actually scared me? Which made me worry about him even more than I naturally would have?” the essay continued. “No. Just no … no no no no …”\u003c/p>\n\u003cp>Lisa Marie became the sole heir of the Elvis Presley Trust after her father died. Along with Elvis Presley Enterprises, the trust managed Graceland and other assets until she sold her majority interest in 2005. She retained ownership of Graceland Mansion itself, the 13 acres around it and items inside the home. Her son is buried there, along with her father and other members of the Presley family.\u003c/p>\n\u003cp>Lisa Marie Presley is a former Scientologist — her son was born in 1992 under guidelines set by Church of Scientology founder L. Ron Hubbard, according to an AP story at the time — but later broke with Scientology.\u003c/p>\n\u003cp>Lisa Marie and Priscilla Presley would make regular trips to Graceland during huge fan celebrations on the anniversaries of Elvis’ death and birthday. One of the two airplanes at Graceland is named the Lisa Marie.\u003c/p>\n\u003cp>After her first album “To Whom It May Concern,” in 2003, some fans came out to see her perform just out of curiosity given her famous family, she told the AP in 2005.\u003c/p>\n\u003cp>“First I had to overcome a pre-speculated idea of me,” she said of the barriers to becoming a singer-songwriter.\u003c/p>\n\u003cp>“I had to sort of burst through that and introduce myself, and that was the first hurdle, and then now sing in front of everybody, and then that was the second one, and I’m the offspring of — you know, who I’m the offspring of — I had a few hurdles to get through, no doubt about it,” she continued. “But the scales never tipped in the other direction too much.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Wine country music festival BottleRock Napa Valley is back May 26–28 with a diverse, star-studded lineup of legacy acts and new stars alike. The headliners are rappers Lizzo, Lil Nas X and Post Malone, and alternative rock icons Smashing Pumpkins and Red Hot Chili Peppers.\u003c/p>\n\u003cp>This year’s BottleRock features quite a few heavy hitters: hip-hop greats Wu-Tang Clan and Warren G, Rock & Roll Hall of Famer Nile Rodgers (with his band Chic), country-pop star Sheryl Crow and rock hitmakers Los Lobos and Duran Duran. Among the exciting newcomers are Sudan Archives, whose critically acclaimed latest album \u003cem>Natural Brown Prom Queen\u003c/em> mixes elements of rap and dance music with her violin playing, and acclaimed singer-songwriter (and best-selling author) Japanese Breakfast.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets for three-day festival\u003c/a> passes go on sale on Jan. 10 at noon.\u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Leon Bridges\u003cbr>\nBilly Strings\u003cbr>\nThe National\u003cbr>\nCaamp\u003cbr>\nCarly Rae Jepsen\u003cbr>\nBastille\u003cbr>\nTove Lo\u003cbr>\nPhantogram\u003cbr>\nQuinn XCII\u003cbr>\nYung Gravy\u003cbr>\nThievery Corporation\u003cbr>\nDayglow\u003cbr>\nAshe\u003cbr>\nLucius\u003cbr>\nTeddy Swims\u003cbr>\nCautious Clay\u003cbr>\nNicky Youre\u003cbr>\nLos Lobos\u003cbr>\nWar\u003cbr>\nTaj Mahal\u003cbr>\nMike Campbell & The Dirty Knobs\u003cbr>\nThe Airborne Toxic Event\u003cbr>\nThe Struts\u003cbr>\nKennyHoopla\u003cbr>\nJean Dawson\u003cbr>\nLupe Fiasco\u003cbr>\nPete Yorn\u003cbr>\nBeach Weather\u003cbr>\nJax\u003cbr>\nTom Odell\u003cbr>\nhalf•alive\u003cbr>\nÁlvaro Díaz\u003cbr>\nMEUTE\u003cbr>\nJoey Valence & Brae\u003cbr>\nThe Wrecks\u003cbr>\nMaude Latour\u003cbr>\nArden Jones\u003cbr>\nThe Unlikely Candidates\u003cbr>\nStarcrawler\u003cbr>\nThe 502s\u003cbr>\nChristone “Kingfish” Ingram\u003cbr>\nMonophonics\u003cbr>\nThe Stone Foxes\u003cbr>\nCimafunk\u003cbr>\nDanielle Ponder\u003cbr>\nParticle Kid\u003cbr>\nMac Saturn\u003cbr>\nLittle Stranger\u003cbr>\nThe Alive\u003cbr>\nMoonalice\u003cbr>\nAyleen Valentine\u003cbr>\nparis jackson\u003cbr>\nGARZA\u003cbr>\nThunderstorm Artis\u003cbr>\nEast Forest\u003cbr>\nThe Silverado Pickups\u003cbr>\nGreat Northern\u003cbr>\nPeter Cat Recording Co.\u003cbr>\nSgt. Splendor\u003cbr>\nOke Junior\u003cbr>\nMama Said\u003cbr>\nHoneyboys\u003cbr>\nHigh Noon\u003cbr>\nSpring Summer\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wine country music festival BottleRock Napa Valley is back May 26–28 with a diverse, star-studded lineup of legacy acts and new stars alike. The headliners are rappers Lizzo, Lil Nas X and Post Malone, and alternative rock icons Smashing Pumpkins and Red Hot Chili Peppers.\u003c/p>\n\u003cp>This year’s BottleRock features quite a few heavy hitters: hip-hop greats Wu-Tang Clan and Warren G, Rock & Roll Hall of Famer Nile Rodgers (with his band Chic), country-pop star Sheryl Crow and rock hitmakers Los Lobos and Duran Duran. Among the exciting newcomers are Sudan Archives, whose critically acclaimed latest album \u003cem>Natural Brown Prom Queen\u003c/em> mixes elements of rap and dance music with her violin playing, and acclaimed singer-songwriter (and best-selling author) Japanese Breakfast.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets for three-day festival\u003c/a> passes go on sale on Jan. 10 at noon.\u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Leon Bridges\u003cbr>\nBilly Strings\u003cbr>\nThe National\u003cbr>\nCaamp\u003cbr>\nCarly Rae Jepsen\u003cbr>\nBastille\u003cbr>\nTove Lo\u003cbr>\nPhantogram\u003cbr>\nQuinn XCII\u003cbr>\nYung Gravy\u003cbr>\nThievery Corporation\u003cbr>\nDayglow\u003cbr>\nAshe\u003cbr>\nLucius\u003cbr>\nTeddy Swims\u003cbr>\nCautious Clay\u003cbr>\nNicky Youre\u003cbr>\nLos Lobos\u003cbr>\nWar\u003cbr>\nTaj Mahal\u003cbr>\nMike Campbell & The Dirty Knobs\u003cbr>\nThe Airborne Toxic Event\u003cbr>\nThe Struts\u003cbr>\nKennyHoopla\u003cbr>\nJean Dawson\u003cbr>\nLupe Fiasco\u003cbr>\nPete Yorn\u003cbr>\nBeach Weather\u003cbr>\nJax\u003cbr>\nTom Odell\u003cbr>\nhalf•alive\u003cbr>\nÁlvaro Díaz\u003cbr>\nMEUTE\u003cbr>\nJoey Valence & Brae\u003cbr>\nThe Wrecks\u003cbr>\nMaude Latour\u003cbr>\nArden Jones\u003cbr>\nThe Unlikely Candidates\u003cbr>\nStarcrawler\u003cbr>\nThe 502s\u003cbr>\nChristone “Kingfish” Ingram\u003cbr>\nMonophonics\u003cbr>\nThe Stone Foxes\u003cbr>\nCimafunk\u003cbr>\nDanielle Ponder\u003cbr>\nParticle Kid\u003cbr>\nMac Saturn\u003cbr>\nLittle Stranger\u003cbr>\nThe Alive\u003cbr>\nMoonalice\u003cbr>\nAyleen Valentine\u003cbr>\nparis jackson\u003cbr>\nGARZA\u003cbr>\nThunderstorm Artis\u003cbr>\nEast Forest\u003cbr>\nThe Silverado Pickups\u003cbr>\nGreat Northern\u003cbr>\nPeter Cat Recording Co.\u003cbr>\nSgt. Splendor\u003cbr>\nOke Junior\u003cbr>\nMama Said\u003cbr>\nHoneyboys\u003cbr>\nHigh Noon\u003cbr>\nSpring Summer\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "There Was a Punk Show on BART Friday Night",
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"content": "\u003cp>If you live in the Bay Area, you’ve undoubtedly seen some unexpected entertainment on BART in your time. Dancers, magicians, those dudes that hang upside down from poles, drunk people. What you’ve probably \u003cem>never\u003c/em> seen is a car packed to the gills with punks there to see a two-band show.\u003c/p>\n\u003cp>That’s exactly what happened Friday night when noisy San Francisco outfits \u003ca href=\"https://www.instagram.com/falseflagsf/\" target=\"_blank\" rel=\"noopener noreferrer\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/surpriseprivilege/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Surprise Privilege\u003c/a> managed to organize a show on a blue line BART train. Having boarded at the 16th St. Mission station at 7pm, the bands rode to Dublin Pleasanton as more than 100 fans squeezed in along the way — and then, on the way back to the city, started playing.\u003c/p>\n\u003cp>Unbridled chaos ensued:\u003c/p>\n\u003cp>https://www.instagram.com/p/CnGrbg6D2JR/\u003c/p>\n\u003cp>Round of applause for the human mic stand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>[aside postid='arts_13865042']“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\n\u003cp>https://www.instagram.com/p/CnIRhGhSMjf/\u003c/p>\n\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>This episode was originally part of the “\u003ca href=\"https://www.kqed.org/musicrightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish: Musicians to Know\u003c/a>” series from 2021. We’re revisiting it as a part of our 2023 kickoff series highlighting some of the best stories from our archives. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature boom-bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and she’s been working on a streak of exciting projects. For the educational organization, \u003ca href=\"https://www.flocabulary.com/\">Flocabulary\u003c/a>, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. Last time we talked in 2021, she had just released a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss and she was on the verge of releasing her EP, \u003cem>Double Down\u003c/em>, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cp>Two years later Nappy Nina is about to drop more music for her fans, as her project \u003cem>Mourning Due\u003c/em> is set to debut in February.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we revisit our conversation with Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft, and how some of my favorite songs came together.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\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=KQINC4437146614&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s f—ing ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good s–t. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\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>\u003cspan style=\"font-weight: 400\">\u003cem>This episode was originally part of the “\u003ca href=\"https://www.kqed.org/musicrightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish: Musicians to Know\u003c/a>” series from 2021. We’re revisiting it as a part of our 2023 kickoff series highlighting some of the best stories from our archives. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature boom-bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and she’s been working on a streak of exciting projects. For the educational organization, \u003ca href=\"https://www.flocabulary.com/\">Flocabulary\u003c/a>, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. Last time we talked in 2021, she had just released a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss and she was on the verge of releasing her EP, \u003cem>Double Down\u003c/em>, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cp>Two years later Nappy Nina is about to drop more music for her fans, as her project \u003cem>Mourning Due\u003c/em> is set to debut in February.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we revisit our conversation with Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft, and how some of my favorite songs came together.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\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=KQINC4437146614&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s f—ing ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good s–t. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\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>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>This one had me from the get-go, powerless before the combination of a groovy bass line and stop-motion animation. The jittery handmade charm that opens abracadabra’s music video for “in a photo” — the first single off their upcoming album \u003ci>shapes & colors\u003c/i> — belies the song’s bright and steady beat. There’s nothing rushed or slapdash about the way the Oakland duo of Hannah Skelton and Chris Niles work their way through this song, a reflection on the difference between idealized images and lived reality.\u003c/p>\n\u003cp>[aside postID='arts_13911741']Decked out in coveralls and ski goggles, Skelton and Niles climb into a giant pencil and its accompanying eraser (real \u003ca href=\"https://www.kqed.org/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco\">artist-designed soapbox derby cars\u003c/a> that took a star turn at last year’s SFMOMA event in McLaren Park) as Skelton sings a delightful pun in her bell-like voice: “Time flies / on a tiny plane.”\u003c/p>\n\u003cp>\u003ci>Magic School Bus\u003c/i>-style, the musicians ride their vehicles into a bowl of blue Jell-o, emerging with a full band in a kind of underwater prom-themed venue. Alternating between spoken and sung deliveries (and a nice call-and-response I’ll attribute to Niles), the song channels the Tom Tom Club and ESG in all the best ways.\u003c/p>\n\u003cp>abracadabra’s sweetness on “in a photo” is tempered by a cascading minor-key chorus, and the recurring (quite existential!) question of “Will you really ever be the photo?” It’s clear from Skelton’s delivery that you — we — shouldn’t \u003ci>want\u003c/i> to be the photo. The photo is too perfect and no fun at all.\u003c/p>\n\u003cp>Instead, “in a photo” is refreshingly tangible, with a plinky cowbell punctuating Skelton’s lyrics and grins all around. The simple, unadulterated pleasure everyone involved seems to be having is decidedly un-digital, un-smooth and unmediated.\u003c/p>\n\u003cp>If this is an anti-Instagram song, I’m here for it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OTmVEFfxRwM&ab_channel=abracadabra\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>\u003cem>abracadabra’s ‘shapes & colors’ is \u003ca href=\"https://abracadabraoakland.bandcamp.com/album/shapes-colors\">out Jan. 20\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>The inspiration for Jason Moran’s new album, \u003cem>From the Dancehall to the Battlefield,\u003c/em> came from a distinguished source, who passed it down like a family heirloom. Randy Weston, a fellow pianist-composer in the jazz tradition, was still performing in his mid-80s a decade or so ago, when he welcomed Moran to his home in Brooklyn with an admonishment: \u003cem>You need to know about James Reese Europe.\u003c/em> (Weston, an NEA Jazz Master,\u003ca href=\"https://www.nytimes.com/2018/09/01/obituaries/randy-weston-dead.html\"> died in 2018\u003c/a> at 92.)\u003c/p>\n\u003cp>“He literally sat me down in his apartment with his wife, Fatoumata,” Moran tells NPR. “They gave me a five-hour history lesson about James Reese Europe. And Randy Weston has a way of talking about history, and especially diasporic Black history, in relationship to the music we make here in America; he’s always trying to find these ties. He locates James Reese Europe as kind of a seminal knot-maker in the line. It’s like, ‘You’ve got to know the guy who invented the Big Knot.’ And that was really where it started for me.”\u003c/p>\n\u003cp>James Reese Europe was a fearless pioneer in African-American history: a bandleader, composer and organizer who laid the groundwork for jazz in the early 20th century. He also founded and incorporated The Clef Club — a first-of-its-kind musicians’ union, contracting agency and social organization whose resident orchestra he brought to Carnegie Hall in 1912. (The ‘\u003ca href=\"https://www.carnegiehall.org/Explore/Articles/2021/03/31/When-Jazz-Arrived-at-Carnegie-Hall\">Concert of Negro Music\u003c/a>,’ as it was billed, is often remembered today as the first jazz concert in the prestigious concert hall, though “jazz” wasn’t a word Europe ever used.)\u003c/p>\n\u003cp>[aside postid='arts_13909444']America’s engagement in World War I plunged James Reese Europe into a different theater of operations. Commissioned as a lieutenant in the 369th Infantry, known as the Harlem Hellfighters, he formed a regimental band that garnered acclaim for its originality and syncopated fire. Europe’s friend Noble Sissle served as his drum major and the lyricist on a number of gripping songs from the front, like “\u003ca href=\"https://youtu.be/YeIET9ZIkGk\">On Patrol in No Man’s Land\u003c/a>,” composed in a field hospital after a gas attack. When the war was over, the 369th Infantry returned as heroes — marching up Fifth Avenue in a victory parade, with Europe’s band providing the beat.\u003c/p>\n\u003cp>For this and other reasons, Europe was a progenitor and pacesetter for American popular music, and for African-American culture; one of his contemporaries, pianist-composer Eubie Blake, later remembered him as “the Martin Luther King of music.” Scholars and historians in our time — like Dr. Tammy Kernodle, the University Distinguished Professor of Music at Miami University in Ohio, hold analogous views. “He’s such a pivotal figure,” Dr. Kernodle tells NPR, “and his influence crosses all types of spheres — social, intellectual, musical, cultural, political — so it’s unfortunate that he has not received the kind of attention that he deserves, because there’s so much that can be gleaned from his life and his career.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moran has been doing some of that gleaning, delving into research about Europe’s story and music, and considering what he means in the greater scheme of Black life. Several years ago he put together a multimedia tribute titled \u003cem>Harlem Hellfighters: James Reese Europe and The Absence Of Ruin, \u003c/em>presenting it at festivals abroad and the Kennedy Center.\u003ca href=\"https://www.npr.org/2018/12/07/674440715/a-century-later-an-illuminated-eulogy-for-a-jazz-pioneer\"> Covering that project for NPR Music\u003c/a> in 2018, Michelle Mercer wrote: “There’s more purposeful meaning in Moran’s song adaptations than a team of the most avid musicologists could hope to find.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Y_0Fhg7G3c\u003c/p>\n\u003cp>The same is now true of \u003cem>From the Dancehall to the Battlefield, \u003c/em>which Moran has\u003ca href=\"https://jasonmoran.bandcamp.com/album/from-the-dancehall-to-the-battlefield\"> released digitally\u003c/a> through his own YES Records. A brilliant and often startling listen, it’s the latest act of radical reimagining from Moran, whose previous forays into Black music history include celebrated tributes to\u003ca href=\"https://www.npr.org/2014/09/13/347664601/modern-misbehavin-jason-moran-gets-into-the-mind-of-fats-waller\"> Fats Waller\u003c/a> and\u003ca href=\"https://www.npr.org/2015/10/08/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\"> Thelonious Monk\u003c/a>. At the album’s center strides The Bandwagon, his flagship trio with bassist Tarus Mateen and drummer Nasheet Waits, who bring a headlong urgency to some of the songs, like Europe’s “Castle House Rag.” Elsewhere, Moran expands the frame to include collaborators like alto saxophonist Logan Richardson, clarinetist Darryl Harper and trumpeter David Adewumi.\u003c/p>\n\u003cp>[aside postid='arts_13914579']One elegiac track, “Flee as a Bird to your Mountain,” comes linked via interpretive segue to the Albert Ayler free-jazz anthem “Ghosts,” soulfully performed by tenor saxophonist Brian Settles. In his liner notes, Moran explains that “Flee as a Bird” was “a piece the 369th Infantry band played when a soldier did not return from the battlefield. Brian represents the restless soul fighting for his last breath before the last shovel full of dirt covers his body.”\u003c/p>\n\u003cp>The album’s overture and title track, “From the Dancehall to the Battlefield,” features a voiceover by Moran, putting the facts of the case in an urgent and poetic light. He notes that as a boy in Washington, D.C., James Reese Europe studied with violinist Joseph Douglass, grandson of the abolitionist Frederick Douglass — “because Douglass innately knew that liberation not only speaks from the mind, but also from instrument.” And he muses about the implications of Europe’s syncopated beat — “because syncopation is about urgency, pushing the beat ahead to apply the anticipation of the oncoming downbeat, an outlook that is inherently futuristic.”\u003c/p>\n\u003cp>Retrofitting the notion of Afrofuturism, as Moran explains, was part of the mission for the album. It’s one reason that his voiceover concludes with a bequest: “From to the dance hall to the battlefield,” he says, “and back home to you.” It’s why he has incorporated a sing-along into many of his performances over the last several years: using his composition “For James” as a means of activating his audiences, co-implicating them in Europe’s historical narrative. I’ve witnessed this a few times, in settings as intimate as The Village Vanguard and as grand as the Newport Jazz Festival — where, as Moran pointed out from the stage, the stone ramparts and cast-iron cannons at Fort Adams brought a layer of resonance to the music.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“For James” is the natural endpoint on Moran’s new album, and he decided to splice a couple of different recordings together. One includes the singing of an audience in Germany; another features the\u003ca href=\"https://www.369experience.com/\"> 369 Experience\u003c/a>, a band made up of HBCU students, playing the music of the Harlem Hellfighters. The track’s final seconds capture Moran addressing these students —invoking Randy Weston, with the understanding that just as the torch was handed over at that moment, it awaits a new generation to keep it moving forward.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jason+Moran%27s+new+album+pays+tribute+to+Black+jazz+pioneer+James+Reese+Europe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The inspiration for Jason Moran’s new album, \u003cem>From the Dancehall to the Battlefield,\u003c/em> came from a distinguished source, who passed it down like a family heirloom. Randy Weston, a fellow pianist-composer in the jazz tradition, was still performing in his mid-80s a decade or so ago, when he welcomed Moran to his home in Brooklyn with an admonishment: \u003cem>You need to know about James Reese Europe.\u003c/em> (Weston, an NEA Jazz Master,\u003ca href=\"https://www.nytimes.com/2018/09/01/obituaries/randy-weston-dead.html\"> died in 2018\u003c/a> at 92.)\u003c/p>\n\u003cp>“He literally sat me down in his apartment with his wife, Fatoumata,” Moran tells NPR. “They gave me a five-hour history lesson about James Reese Europe. And Randy Weston has a way of talking about history, and especially diasporic Black history, in relationship to the music we make here in America; he’s always trying to find these ties. He locates James Reese Europe as kind of a seminal knot-maker in the line. It’s like, ‘You’ve got to know the guy who invented the Big Knot.’ And that was really where it started for me.”\u003c/p>\n\u003cp>James Reese Europe was a fearless pioneer in African-American history: a bandleader, composer and organizer who laid the groundwork for jazz in the early 20th century. He also founded and incorporated The Clef Club — a first-of-its-kind musicians’ union, contracting agency and social organization whose resident orchestra he brought to Carnegie Hall in 1912. (The ‘\u003ca href=\"https://www.carnegiehall.org/Explore/Articles/2021/03/31/When-Jazz-Arrived-at-Carnegie-Hall\">Concert of Negro Music\u003c/a>,’ as it was billed, is often remembered today as the first jazz concert in the prestigious concert hall, though “jazz” wasn’t a word Europe ever used.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>America’s engagement in World War I plunged James Reese Europe into a different theater of operations. Commissioned as a lieutenant in the 369th Infantry, known as the Harlem Hellfighters, he formed a regimental band that garnered acclaim for its originality and syncopated fire. Europe’s friend Noble Sissle served as his drum major and the lyricist on a number of gripping songs from the front, like “\u003ca href=\"https://youtu.be/YeIET9ZIkGk\">On Patrol in No Man’s Land\u003c/a>,” composed in a field hospital after a gas attack. When the war was over, the 369th Infantry returned as heroes — marching up Fifth Avenue in a victory parade, with Europe’s band providing the beat.\u003c/p>\n\u003cp>For this and other reasons, Europe was a progenitor and pacesetter for American popular music, and for African-American culture; one of his contemporaries, pianist-composer Eubie Blake, later remembered him as “the Martin Luther King of music.” Scholars and historians in our time — like Dr. Tammy Kernodle, the University Distinguished Professor of Music at Miami University in Ohio, hold analogous views. “He’s such a pivotal figure,” Dr. Kernodle tells NPR, “and his influence crosses all types of spheres — social, intellectual, musical, cultural, political — so it’s unfortunate that he has not received the kind of attention that he deserves, because there’s so much that can be gleaned from his life and his career.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moran has been doing some of that gleaning, delving into research about Europe’s story and music, and considering what he means in the greater scheme of Black life. Several years ago he put together a multimedia tribute titled \u003cem>Harlem Hellfighters: James Reese Europe and The Absence Of Ruin, \u003c/em>presenting it at festivals abroad and the Kennedy Center.\u003ca href=\"https://www.npr.org/2018/12/07/674440715/a-century-later-an-illuminated-eulogy-for-a-jazz-pioneer\"> Covering that project for NPR Music\u003c/a> in 2018, Michelle Mercer wrote: “There’s more purposeful meaning in Moran’s song adaptations than a team of the most avid musicologists could hope to find.”\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/2Y_0Fhg7G3c'\n title='//www.youtube.com/embed/2Y_0Fhg7G3c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The same is now true of \u003cem>From the Dancehall to the Battlefield, \u003c/em>which Moran has\u003ca href=\"https://jasonmoran.bandcamp.com/album/from-the-dancehall-to-the-battlefield\"> released digitally\u003c/a> through his own YES Records. A brilliant and often startling listen, it’s the latest act of radical reimagining from Moran, whose previous forays into Black music history include celebrated tributes to\u003ca href=\"https://www.npr.org/2014/09/13/347664601/modern-misbehavin-jason-moran-gets-into-the-mind-of-fats-waller\"> Fats Waller\u003c/a> and\u003ca href=\"https://www.npr.org/2015/10/08/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\"> Thelonious Monk\u003c/a>. At the album’s center strides The Bandwagon, his flagship trio with bassist Tarus Mateen and drummer Nasheet Waits, who bring a headlong urgency to some of the songs, like Europe’s “Castle House Rag.” Elsewhere, Moran expands the frame to include collaborators like alto saxophonist Logan Richardson, clarinetist Darryl Harper and trumpeter David Adewumi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One elegiac track, “Flee as a Bird to your Mountain,” comes linked via interpretive segue to the Albert Ayler free-jazz anthem “Ghosts,” soulfully performed by tenor saxophonist Brian Settles. In his liner notes, Moran explains that “Flee as a Bird” was “a piece the 369th Infantry band played when a soldier did not return from the battlefield. Brian represents the restless soul fighting for his last breath before the last shovel full of dirt covers his body.”\u003c/p>\n\u003cp>The album’s overture and title track, “From the Dancehall to the Battlefield,” features a voiceover by Moran, putting the facts of the case in an urgent and poetic light. He notes that as a boy in Washington, D.C., James Reese Europe studied with violinist Joseph Douglass, grandson of the abolitionist Frederick Douglass — “because Douglass innately knew that liberation not only speaks from the mind, but also from instrument.” And he muses about the implications of Europe’s syncopated beat — “because syncopation is about urgency, pushing the beat ahead to apply the anticipation of the oncoming downbeat, an outlook that is inherently futuristic.”\u003c/p>\n\u003cp>Retrofitting the notion of Afrofuturism, as Moran explains, was part of the mission for the album. It’s one reason that his voiceover concludes with a bequest: “From to the dance hall to the battlefield,” he says, “and back home to you.” It’s why he has incorporated a sing-along into many of his performances over the last several years: using his composition “For James” as a means of activating his audiences, co-implicating them in Europe’s historical narrative. I’ve witnessed this a few times, in settings as intimate as The Village Vanguard and as grand as the Newport Jazz Festival — where, as Moran pointed out from the stage, the stone ramparts and cast-iron cannons at Fort Adams brought a layer of resonance to the music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For James” is the natural endpoint on Moran’s new album, and he decided to splice a couple of different recordings together. One includes the singing of an audience in Germany; another features the\u003ca href=\"https://www.369experience.com/\"> 369 Experience\u003c/a>, a band made up of HBCU students, playing the music of the Harlem Hellfighters. The track’s final seconds capture Moran addressing these students —invoking Randy Weston, with the understanding that just as the torch was handed over at that moment, it awaits a new generation to keep it moving forward.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jason+Moran%27s+new+album+pays+tribute+to+Black+jazz+pioneer+James+Reese+Europe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2023 Public Domain Debuts: 'Sherlock Holmes,' 'Metropolis,' Bessie Smith, Faulkner, Many More",
"headTitle": "2023 Public Domain Debuts: ‘Sherlock Holmes,’ ‘Metropolis,’ Bessie Smith, Faulkner, Many More | KQED",
"content": "\u003cp>Sherlock Holmes is finally free to the American public in 2023.\u003c/p>\n\u003cp>The \u003ca href=\"https://apnews.com/article/4c2c6715242e4965ba245d6af8d6a075\">long-running contested copyright dispute\u003c/a> over Sir Arthur Conan Doyle’s tales of a whipsmart detective will finally come to an end as the 1927 copyrights expiring Jan. 1 include Conan Doyle’s last Sherlock Holmes work.\u003c/p>\n\u003cp>Alongside the short-story collection \u003cem>The Case-Book of Sherlock Holmes\u003c/em>, books such as Virginia Woolf’s \u003cem>To The Lighthouse\u003c/em>, Ernest Hemingway’s \u003cem>Men Without Women\u003c/em>, William Faulkner’s \u003cem>Mosquitoes\u003c/em> and Agatha Christie’s \u003cem>The Big Four\u003c/em> — an Hercule Poirot mystery — will become public domain as the calendar turns to 2023.\u003c/p>\n\u003cp>Once a work enters the public domain it can legally be shared, performed, reused, repurposed or sampled without permission or cost. The works from 1927 were originally supposed to be copyrighted for 75 years, but the 1998 Copyright Term Extension Act delayed opening them up for an additional 20 years.\u003c/p>\n\u003cp>While many prominent works on the list used those extra two decades to earn their copyright holders good money, a Duke University expert says the copyright protections also applied to “all of the works whose commercial viability had long subsided.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For the vast majority—probably 99%—of works from 1927, no copyright holder financially benefited from continued copyright. Yet they remained off limits, for no good reason,” Jennifer Jenkins, director of Duke’s Center for the Study of the Public Domain, wrote in a blog post heralding “\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2023/#fn2text\">Public Domain Day 2023\u003c/a>.”\u003c/p>\n\u003cp>That long U.S. copyright period meant many works that would now become available have \u003ca href=\"https://apnews.com/article/silent-movies-lobby-cards-f5e267501f7de367b530f530279b28f5\">long since been lost\u003c/a>, because they were not profitable to maintain by the legal owners, but couldn’t be used by others. On the Duke list are such “lost” films like Victor Fleming’s \u003cem>The Way of All Flesh\u003c/em> and Tod Browning’s \u003cem>London After Midnight\u003c/em>.\u003c/p>\n\u003cp>1927 portended the silent film era’s end with the release of the first “talkie” — a film with dialogue in it. That was \u003cem>The Jazz Singer\u003c/em>, the historic first feature-length film with synchronized dialogue also notorious for Al Jolson’s blackface performance.\u003c/p>\n\u003cp>In addition to the Alan Crosland-directed film, other movies like \u003cem>Wings\u003c/em> — directed by William A. Wellman and the “outstanding production” winner at the very first Oscars — and Fritz Lang’s seminal science-fiction classic \u003cem>Metropolis\u003c/em> will enter the public domain.\u003c/p>\n\u003cp>Musical compositions — the music and lyrics found on sheet music, not the sound recordings — on the list include hits from Broadway musicals like “Funny Face” and jazz standards from the likes of legends like Louis Armstrong and Duke Ellington, in addition to Irving Berlin’s “Puttin’ on the Ritz” and “(I Scream You Scream, We All Scream for) Ice Cream” by Howard Johnson, Billy Moll and Robert A. King.\u003c/p>\n\u003cp>Duke’s Center for the Public Domain highlighted notable books, movies and musical compositions entering the public domain — just a fraction of the thousands due to be unleashed in 2023.\u003c/p>\n\u003ch2>Books\u003c/h2>\n\u003cp>— \u003cem>The Gangs of New York\u003c/em>, by Herbert Asbury (original publication)\u003c/p>\n\u003cp>— \u003cem>Death Comes for the Archbishop\u003c/em>, by Willa Cather\u003c/p>\n\u003cp>— \u003cem>The Big Four\u003c/em>, by Agatha Christie\u003c/p>\n\u003cp>— \u003cem>The Tower Treasure\u003c/em>, the first Hardy Boys mystery by the pseudonymous Franklin W. Dixon\u003c/p>\n\u003cp>— \u003cem>The Case-Book of Sherlock Holmes\u003c/em>, by Arthur Conan Doyle\u003c/p>\n\u003cp>— \u003cem>Copper Sun\u003c/em>, by Countee Cullen\u003c/p>\n\u003cp>— \u003cem>Mosquitoes\u003c/em>, by William Faulkner\u003c/p>\n\u003cp>— \u003cem>Men Without Women\u003c/em>, by Ernest Hemingway\u003c/p>\n\u003cp>— \u003cem>Der Steppenwolf\u003c/em>, by Herman Hesse (in German)\u003c/p>\n\u003cp>— \u003cem>Amerika\u003c/em>, by Franz Kafka (in German)\u003c/p>\n\u003cp>— \u003cem>Now We Are Six\u003c/em>, by A.A. Milne with illustrations from E.H. Shepard\u003c/p>\n\u003cp>— \u003cem>Le Temps retrouvé\u003c/em>, by Marcel Proust (in French)\u003c/p>\n\u003cp>— \u003cem>Twilight Sleep\u003c/em>, by Edith Wharton\u003c/p>\n\u003cp>— \u003cem>The Bridge of San Luis Rey\u003c/em>, by Thornton Wilder\u003c/p>\n\u003cp>— \u003cem>To The Lighthouse\u003c/em>, by Virginia Woolf\u003c/p>\n\u003ch2>Movies\u003c/h2>\n\u003cp>— \u003cem>7th Heaven\u003c/em>, directed by Frank Borzage\u003c/p>\n\u003cp>— \u003cem>The Battle of the Century\u003c/em>, a Laurel and Hardy film directed by Clyde Bruckman\u003c/p>\n\u003cp>— \u003cem>The Kid Brother\u003c/em>, directed by Ted Wilde\u003c/p>\n\u003cp>— \u003cem>The Jazz Singer\u003c/em>, directed by Alan Crosland\u003c/p>\n\u003cp>— \u003cem>The Lodger: A Story of the London Fog\u003c/em>, directed by Alfred Hitchcock\u003c/p>\n\u003cp>— \u003cem>Metropolis\u003c/em>, directed by Fritz Lang\u003c/p>\n\u003cp>— \u003cem>Sunrise\u003c/em>, directed by F.W. Murnau\u003c/p>\n\u003cp>— \u003cem>Upstream\u003c/em>, directed by John Ford\u003c/p>\n\u003cp>— \u003cem>Wings\u003c/em>, directed by William A. Wellman\u003c/p>\n\u003ch2>Musical Compositions\u003c/h2>\n\u003cp>— “Back Water Blues,” “Preaching the Blues” and “Foolish Man Blues” (Bessie Smith)\u003c/p>\n\u003cp>— “The Best Things in Life Are Free,” from the musical \u003cem>Good News\u003c/em> (George Gard “Buddy” De Sylva, Lew Brown, Ray Henderson)\u003c/p>\n\u003cp>— “Billy Goat Stomp,” “Hyena Stomp” and “Jungle Blues” (Ferdinand Joseph Morton)\u003c/p>\n\u003cp>— “Black and Tan Fantasy” and “East St. Louis Toodle-O” (Bub Miley, Duke Ellington)\u003c/p>\n\u003cp>— “Can’t Help Lovin’ Dat Man” and “Ol’ Man River,” from the musical \u003cem>Show Boat\u003c/em> (Oscar Hammerstein II, Jerome Kern)\u003c/p>\n\u003cp>— “Diane” (Erno Rapee, Lew Pollack)\u003c/p>\n\u003cp>— “Funny Face” and “’S Wonderful,” from the musical \u003cem>Funny Face\u003c/em> (Ira and George Gershwin)\u003c/p>\n\u003cp>— “(I Scream You Scream, We All Scream for) Ice Cream” (Howard Johnson, Billy Moll, Robert A. King)\u003c/p>\n\u003cp>— “Mississippi Mud” (Harry Barris, James Cavanaugh)\u003c/p>\n\u003cp>— “My Blue Heaven” (George Whiting, Walter Donaldson)\u003c/p>\n\u003cp>— “Potato Head Blues” and “Gully Low Blues” (Louis Armstrong)\u003c/p>\n\u003cp>— “Puttin’ on the Ritz” (Irving Berlin)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>— “Rusty Pail Blues,” “Sloppy Water Blues” and “Soothin’ Syrup Stomp” (Thomas Waller)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sherlock Holmes is finally free to the American public in 2023.\u003c/p>\n\u003cp>The \u003ca href=\"https://apnews.com/article/4c2c6715242e4965ba245d6af8d6a075\">long-running contested copyright dispute\u003c/a> over Sir Arthur Conan Doyle’s tales of a whipsmart detective will finally come to an end as the 1927 copyrights expiring Jan. 1 include Conan Doyle’s last Sherlock Holmes work.\u003c/p>\n\u003cp>Alongside the short-story collection \u003cem>The Case-Book of Sherlock Holmes\u003c/em>, books such as Virginia Woolf’s \u003cem>To The Lighthouse\u003c/em>, Ernest Hemingway’s \u003cem>Men Without Women\u003c/em>, William Faulkner’s \u003cem>Mosquitoes\u003c/em> and Agatha Christie’s \u003cem>The Big Four\u003c/em> — an Hercule Poirot mystery — will become public domain as the calendar turns to 2023.\u003c/p>\n\u003cp>Once a work enters the public domain it can legally be shared, performed, reused, repurposed or sampled without permission or cost. The works from 1927 were originally supposed to be copyrighted for 75 years, but the 1998 Copyright Term Extension Act delayed opening them up for an additional 20 years.\u003c/p>\n\u003cp>While many prominent works on the list used those extra two decades to earn their copyright holders good money, a Duke University expert says the copyright protections also applied to “all of the works whose commercial viability had long subsided.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For the vast majority—probably 99%—of works from 1927, no copyright holder financially benefited from continued copyright. Yet they remained off limits, for no good reason,” Jennifer Jenkins, director of Duke’s Center for the Study of the Public Domain, wrote in a blog post heralding “\u003ca href=\"https://web.law.duke.edu/cspd/publicdomainday/2023/#fn2text\">Public Domain Day 2023\u003c/a>.”\u003c/p>\n\u003cp>That long U.S. copyright period meant many works that would now become available have \u003ca href=\"https://apnews.com/article/silent-movies-lobby-cards-f5e267501f7de367b530f530279b28f5\">long since been lost\u003c/a>, because they were not profitable to maintain by the legal owners, but couldn’t be used by others. On the Duke list are such “lost” films like Victor Fleming’s \u003cem>The Way of All Flesh\u003c/em> and Tod Browning’s \u003cem>London After Midnight\u003c/em>.\u003c/p>\n\u003cp>1927 portended the silent film era’s end with the release of the first “talkie” — a film with dialogue in it. That was \u003cem>The Jazz Singer\u003c/em>, the historic first feature-length film with synchronized dialogue also notorious for Al Jolson’s blackface performance.\u003c/p>\n\u003cp>In addition to the Alan Crosland-directed film, other movies like \u003cem>Wings\u003c/em> — directed by William A. Wellman and the “outstanding production” winner at the very first Oscars — and Fritz Lang’s seminal science-fiction classic \u003cem>Metropolis\u003c/em> will enter the public domain.\u003c/p>\n\u003cp>Musical compositions — the music and lyrics found on sheet music, not the sound recordings — on the list include hits from Broadway musicals like “Funny Face” and jazz standards from the likes of legends like Louis Armstrong and Duke Ellington, in addition to Irving Berlin’s “Puttin’ on the Ritz” and “(I Scream You Scream, We All Scream for) Ice Cream” by Howard Johnson, Billy Moll and Robert A. King.\u003c/p>\n\u003cp>Duke’s Center for the Public Domain highlighted notable books, movies and musical compositions entering the public domain — just a fraction of the thousands due to be unleashed in 2023.\u003c/p>\n\u003ch2>Books\u003c/h2>\n\u003cp>— \u003cem>The Gangs of New York\u003c/em>, by Herbert Asbury (original publication)\u003c/p>\n\u003cp>— \u003cem>Death Comes for the Archbishop\u003c/em>, by Willa Cather\u003c/p>\n\u003cp>— \u003cem>The Big Four\u003c/em>, by Agatha Christie\u003c/p>\n\u003cp>— \u003cem>The Tower Treasure\u003c/em>, the first Hardy Boys mystery by the pseudonymous Franklin W. Dixon\u003c/p>\n\u003cp>— \u003cem>The Case-Book of Sherlock Holmes\u003c/em>, by Arthur Conan Doyle\u003c/p>\n\u003cp>— \u003cem>Copper Sun\u003c/em>, by Countee Cullen\u003c/p>\n\u003cp>— \u003cem>Mosquitoes\u003c/em>, by William Faulkner\u003c/p>\n\u003cp>— \u003cem>Men Without Women\u003c/em>, by Ernest Hemingway\u003c/p>\n\u003cp>— \u003cem>Der Steppenwolf\u003c/em>, by Herman Hesse (in German)\u003c/p>\n\u003cp>— \u003cem>Amerika\u003c/em>, by Franz Kafka (in German)\u003c/p>\n\u003cp>— \u003cem>Now We Are Six\u003c/em>, by A.A. Milne with illustrations from E.H. Shepard\u003c/p>\n\u003cp>— \u003cem>Le Temps retrouvé\u003c/em>, by Marcel Proust (in French)\u003c/p>\n\u003cp>— \u003cem>Twilight Sleep\u003c/em>, by Edith Wharton\u003c/p>\n\u003cp>— \u003cem>The Bridge of San Luis Rey\u003c/em>, by Thornton Wilder\u003c/p>\n\u003cp>— \u003cem>To The Lighthouse\u003c/em>, by Virginia Woolf\u003c/p>\n\u003ch2>Movies\u003c/h2>\n\u003cp>— \u003cem>7th Heaven\u003c/em>, directed by Frank Borzage\u003c/p>\n\u003cp>— \u003cem>The Battle of the Century\u003c/em>, a Laurel and Hardy film directed by Clyde Bruckman\u003c/p>\n\u003cp>— \u003cem>The Kid Brother\u003c/em>, directed by Ted Wilde\u003c/p>\n\u003cp>— \u003cem>The Jazz Singer\u003c/em>, directed by Alan Crosland\u003c/p>\n\u003cp>— \u003cem>The Lodger: A Story of the London Fog\u003c/em>, directed by Alfred Hitchcock\u003c/p>\n\u003cp>— \u003cem>Metropolis\u003c/em>, directed by Fritz Lang\u003c/p>\n\u003cp>— \u003cem>Sunrise\u003c/em>, directed by F.W. Murnau\u003c/p>\n\u003cp>— \u003cem>Upstream\u003c/em>, directed by John Ford\u003c/p>\n\u003cp>— \u003cem>Wings\u003c/em>, directed by William A. Wellman\u003c/p>\n\u003ch2>Musical Compositions\u003c/h2>\n\u003cp>— “Back Water Blues,” “Preaching the Blues” and “Foolish Man Blues” (Bessie Smith)\u003c/p>\n\u003cp>— “The Best Things in Life Are Free,” from the musical \u003cem>Good News\u003c/em> (George Gard “Buddy” De Sylva, Lew Brown, Ray Henderson)\u003c/p>\n\u003cp>— “Billy Goat Stomp,” “Hyena Stomp” and “Jungle Blues” (Ferdinand Joseph Morton)\u003c/p>\n\u003cp>— “Black and Tan Fantasy” and “East St. Louis Toodle-O” (Bub Miley, Duke Ellington)\u003c/p>\n\u003cp>— “Can’t Help Lovin’ Dat Man” and “Ol’ Man River,” from the musical \u003cem>Show Boat\u003c/em> (Oscar Hammerstein II, Jerome Kern)\u003c/p>\n\u003cp>— “Diane” (Erno Rapee, Lew Pollack)\u003c/p>\n\u003cp>— “Funny Face” and “’S Wonderful,” from the musical \u003cem>Funny Face\u003c/em> (Ira and George Gershwin)\u003c/p>\n\u003cp>— “(I Scream You Scream, We All Scream for) Ice Cream” (Howard Johnson, Billy Moll, Robert A. King)\u003c/p>\n\u003cp>— “Mississippi Mud” (Harry Barris, James Cavanaugh)\u003c/p>\n\u003cp>— “My Blue Heaven” (George Whiting, Walter Donaldson)\u003c/p>\n\u003cp>— “Potato Head Blues” and “Gully Low Blues” (Louis Armstrong)\u003c/p>\n\u003cp>— “Puttin’ on the Ritz” (Irving Berlin)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>— “Rusty Pail Blues,” “Sloppy Water Blues” and “Soothin’ Syrup Stomp” (Thomas Waller)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Zach Bryan Releases ‘All My Homies Hate Ticketmaster’ Album",
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"content": "\u003cp>The chorus against Ticketmaster’s contentious concert pricing practices is growing, numbering among them Zach Bryan and friends.\u003c/p>\n\u003cp>The country music artist dropped a live album, \u003cem>All My Homies Hate Ticketmaster\u003c/em>, on Sunday. With it came a statement \u003ca href=\"https://www.instagram.com/p/CmlBWZsu4Si/\">posted to social media\u003c/a> in which he decried “a massive issue with fair ticket prices to live shows lately.”\u003c/p>\n\u003cp>“I’ve decided to play a limited number of headline shows next year to which I’ve done all I can to make prices as cheap as possible and to prove to people tickets don’t have to cost $450 to see a good and honest show,” Bryan wrote, cautioning that he didn’t have control of ticket prices for festivals he’ll play.\u003c/p>\n\u003cp>[aside postID='arts_13861791']The statement doesn’t mention Ticketmaster by name except in the new album title, though he tagged the company in \u003ca href=\"https://www.instagram.com/p/CmlI4WuuMu9/\">a separate Instagram post\u003c/a> displaying the track listing. A message seeking comment from Ticketmaster was not immediately returned.\u003c/p>\n\u003cp>Ticketmaster has faced a slew of bad press and scrutiny in recent weeks, notably around the botched rollout of tickets for superstar Taylor Swift’s upcoming Eras Tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A presale event in mid-November crashed the site and left many fans without tickets; the planned general sale for the stadium tour \u003ca href=\"https://apnews.com/article/taylor-swift-ticketmaster-sale-canceled-music-concert-tour-70c8a21059174c37a06b7a8475239b06\">was subsequently scrapped\u003c/a> because the dominant ticketing giant had run out of tickets. The debacle has even led \u003ca href=\"https://apnews.com/article/josh-shapiro-business-taylor-swift-tennessee-e157badef297f7c302615b3a6080ba2a\">several state attorneys general to open investigations\u003c/a>.\u003c/p>\n\u003cp>Ticketmaster Mexico is also in hot water over a \u003ca href=\"https://apnews.com/article/entertainment-music-caribbean-concerts-adbdaa49edda251ef7c3987341c6069e\">Bad Bunny concert\u003c/a> in Mexico City where thousands were left in the cold thanks to fake tickets. Mexico’s consumer protection agency announced an investigation, but Ticketmaster Mexico denied the December concert was oversold and instead blamed false tickets bought through unofficial channels and “temporary interruptions in the ticket reading system, which unfortunately momentarily impeded recognition of legitimate tickets.”\u003c/p>\n\u003cp>Experts say the frustration over Ticketmaster’s practices \u003ca href=\"https://apnews.com/article/entertainment-business-taylor-swift-cca0dec2b454d564fa52383101725bdc\">could drive political engagement\u003c/a>, which Bryan alluded to in his statement when criticizing inaction while “huge monopolies sit there stealing money from working class people.”\u003c/p>\n\u003cp>[aside postID='arts_13921777']A songwriter “trying to make ‘relatable music for the working class man or woman’ should pride themself on fighting for the people who listen to the words they’re singing,” he added.\u003c/p>\n\u003cp>As of Monday morning, Bryan enjoyed a one-two punch atop Apple Music’s country chart: The 24-track “All My Homies Hate Ticketmaster,” a recording of his Nov. 3 show at Colorado’s Red Rocks Amphitheatre, is at No. 1, followed by \u003ca href=\"https://apnews.com/article/2022-top-albums-8e6f93ecad31b142a8d75fc46468615b\">his 2022 major label debut\u003c/a>, “American Heartbreak.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bryan said he would announce a tour soon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The chorus against Ticketmaster’s contentious concert pricing practices is growing, numbering among them Zach Bryan and friends.\u003c/p>\n\u003cp>The country music artist dropped a live album, \u003cem>All My Homies Hate Ticketmaster\u003c/em>, on Sunday. With it came a statement \u003ca href=\"https://www.instagram.com/p/CmlBWZsu4Si/\">posted to social media\u003c/a> in which he decried “a massive issue with fair ticket prices to live shows lately.”\u003c/p>\n\u003cp>“I’ve decided to play a limited number of headline shows next year to which I’ve done all I can to make prices as cheap as possible and to prove to people tickets don’t have to cost $450 to see a good and honest show,” Bryan wrote, cautioning that he didn’t have control of ticket prices for festivals he’ll play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The statement doesn’t mention Ticketmaster by name except in the new album title, though he tagged the company in \u003ca href=\"https://www.instagram.com/p/CmlI4WuuMu9/\">a separate Instagram post\u003c/a> displaying the track listing. A message seeking comment from Ticketmaster was not immediately returned.\u003c/p>\n\u003cp>Ticketmaster has faced a slew of bad press and scrutiny in recent weeks, notably around the botched rollout of tickets for superstar Taylor Swift’s upcoming Eras Tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A presale event in mid-November crashed the site and left many fans without tickets; the planned general sale for the stadium tour \u003ca href=\"https://apnews.com/article/taylor-swift-ticketmaster-sale-canceled-music-concert-tour-70c8a21059174c37a06b7a8475239b06\">was subsequently scrapped\u003c/a> because the dominant ticketing giant had run out of tickets. The debacle has even led \u003ca href=\"https://apnews.com/article/josh-shapiro-business-taylor-swift-tennessee-e157badef297f7c302615b3a6080ba2a\">several state attorneys general to open investigations\u003c/a>.\u003c/p>\n\u003cp>Ticketmaster Mexico is also in hot water over a \u003ca href=\"https://apnews.com/article/entertainment-music-caribbean-concerts-adbdaa49edda251ef7c3987341c6069e\">Bad Bunny concert\u003c/a> in Mexico City where thousands were left in the cold thanks to fake tickets. Mexico’s consumer protection agency announced an investigation, but Ticketmaster Mexico denied the December concert was oversold and instead blamed false tickets bought through unofficial channels and “temporary interruptions in the ticket reading system, which unfortunately momentarily impeded recognition of legitimate tickets.”\u003c/p>\n\u003cp>Experts say the frustration over Ticketmaster’s practices \u003ca href=\"https://apnews.com/article/entertainment-business-taylor-swift-cca0dec2b454d564fa52383101725bdc\">could drive political engagement\u003c/a>, which Bryan alluded to in his statement when criticizing inaction while “huge monopolies sit there stealing money from working class people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A songwriter “trying to make ‘relatable music for the working class man or woman’ should pride themself on fighting for the people who listen to the words they’re singing,” he added.\u003c/p>\n\u003cp>As of Monday morning, Bryan enjoyed a one-two punch atop Apple Music’s country chart: The 24-track “All My Homies Hate Ticketmaster,” a recording of his Nov. 3 show at Colorado’s Red Rocks Amphitheatre, is at No. 1, followed by \u003ca href=\"https://apnews.com/article/2022-top-albums-8e6f93ecad31b142a8d75fc46468615b\">his 2022 major label debut\u003c/a>, “American Heartbreak.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bryan said he would announce a tour soon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Niche Rap Stars Quietly Conquered 2022",
"headTitle": "How Niche Rap Stars Quietly Conquered 2022 | KQED",
"content": "\u003cp>If you can’t find the emergent rap stars in 2022, you might be looking in the wrong place. A \u003ca href=\"https://www.billboard.com/pro/hip-hop-music-most-popular-genre-dominance-slipping/\">recent \u003cem>Billboard\u003c/em> feature\u003c/a> about hip-hop’s status as a market leader suggested that a generation of rap stars is aging out and few new ones are filling the void. But scan lists of the most streamed artists of the year and, between the boldface names of artists like Drake, Future, Eminem and Kendrick Lamar, you will find a few whose presence feels less inevitable. The metrics for stardom have always required specific machinery, but that machinery has been altered in the 2020s, thanks in large part to changes in streaming infrastructure. The digital paths we came to recognize in the last decade tended to aim at an eventual level-up: leveraging a base on SoundCloud into radio play, or turning a viral video into a TV spot. For some in this latest generation, that kind of signal boost is beside the point.\u003c/p>\n\u003cp>[aside postID='arts_13922511']To be fair, it is true that hip-hop is facing some critical challenges that have curbed its star power in recent years. Its lyrics have become a favorite tool of the carceral system, both stateside and abroad. An obscene number of young rap stars have been killed by gun violence and opioid abuse — though, importantly, that rise has been commensurate with record deaths in both categories nationwide over the same period, according to \u003ca href=\"https://www.nbcnews.com/news/us-news/third-straight-year-america-hits-grim-milestone-600-multiple-victim-sh-rcna58230\">The Gun Violence Archive\u003c/a> and the \u003ca href=\"https://www.cnn.com/2022/12/14/health/drug-overdose-deaths-slowing/index.html\">CDC\u003c/a>, respectively. (As usual, rap is merely reflecting the values of American culture.) Meanwhile, a few of rap’s biggest names have tanked their own careers in public lately. DaBaby talked his way into oblivion. Questions remain about Travis Scott’s culpability in the deaths of concertgoers during the Astroworld festival in 2021. His mentor Kanye West, or Ye, spent months effectively self-identifying as antisemitic, before capping the year with a note of \u003ca href=\"https://www.npr.org/2022/12/02/1140218872/ye-antisemitism-alex-jones-podcast\">praise for Hitler\u003c/a> that seemed to stun even the notorious far-right conspiracy theorist Alex Jones.\u003c/p>\n\u003cp>But beyond these complications, the idea that rap stardom at large is dwindling must come down to the model used to measure it. For most of pop history, the household name has been fashioned by a combination of radio plays and TV appearances, awards show nominations and “it” moments — signifiers that add up to an artist as a cultural force, prominent in ways that can’t be ignored. And by those standards, there are still those whose ascendancy has been presented in familiar terms. Lil Baby, Gunna and Jack Harlow, each riding a comfortable upswing, all scored hit albums and singles this year. Megan Thee Stallion remains an A-lister, her name and music at the center of discourse despite the chaos of her situation. Polo G and Playboi Carti made such dominant showings in the early COVID era, they were able to take 2022 off and still feel unavoidable. 21 Savage, coming off a long break, reaffirmed his status with Drake at his side.\u003c/p>\n\u003cp>But at the fringes of that more recognizable sphere of celebrity, a new kind of star has been hard at work: the platform-conscious niche star, whose massive fanbase only looks small when compared with total ubiquity. Hip-hop has some precedent for such figures, embodied in those regional successes who operate without much concern for crossing over. And the diminished visibility of many of these niche stars has at least a little to do with their aversion to press, or the press’s aversion to them. But if you believe there’s a meaningful distinction between what is outwardly omnipresent in culture and what is \u003cem>reaching\u003c/em> people — between what is promoted and what is actually beloved — the fringe rap star is a living test of this principle, the kind of artist whose success manifests in being actively listened to by 100 people, rather than casually heard by 1,000. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k-PaOWxvnz0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2022, YoungBoy Never Broke Again (or \u003ca href=\"https://www.npr.org/artists/898640762/nba-youngboy\">NBA YoungBoy\u003c/a>), \u003ca href=\"https://www.npr.org/artists/783292357/rod-wave\">Rod Wave\u003c/a>, Lil Durk, Yeat and a resurgent Kodak Black stood out among a cohort of artists who are finding ways to connect with legions of listeners while the wider pop cultural apparatus mostly ignores them. Their central appeal is their music, all varying strains of melodic rap. Their success is tangible, at least by the streaming era’s murky math: Of the 13 albums \u003ca href=\"https://www.riaa.com/riaas-2022-year-end-gold-platinum-awards/\">certified by the RIAA\u003c/a> this year, Durk’s \u003cem>7220\u003c/em> was one of only five to go platinum. YoungBoy scored two of the eight gold plaques, and Rod and Kodak each nabbed one more. The stars behind these numbers have each produced their own distilled sound, and though their paths differ, their stories overlap. Through the gaps in social platforming and the increased sprawl of the streaming model (with direct-to-consumer meeting word-of-mouth), these performers took the leap, some despite significant controversy, to help define the year in rap for those who took notice.\u003c/p>\n\u003cp>NBA YoungBoy is the archetype for this phenomenon. The Baton Rouge rapper’s total streaming numbers are second to only Drake’s among all artists, and yet he is hidden. He has no radio presence. He isn’t even in the Top 20 on \u003cem>Billboard\u003c/em>‘s\u003ca href=\"https://www.billboard.com/charts/year-end/top-artists/\"> year-end artists\u003c/a> list. Nor is he one of Spotify’s Top 5 most-streamed artists in America. Where sheer numbers are concerned, his competitive edge against music’s one-percenters lies in a machinelike productivity. YoungBoy seems to have the upload button held down: He’s prolific but consistent, always active and always online, rolling out content at the algorithm’s desired pace. Musically, there is a subtle ranginess within his squawked, autotuned performances that has kept him clear of stagnancy, a contrast you can hear in his last two solo projects — the Cash Money-inspired 3\u003cem>800 Degrees\u003c/em> is belligerent and burly, whereas \u003cem>Ma’ I Got A Family\u003c/em> is more subdued and tender. It’s that duality that has helped sustain his nonstop creative march.\u003c/p>\n\u003cp>Rod Wave has picked up a reputation as rap’s resident melancholiac, so much so that he announced that his August LP, \u003cem>Beautiful Mind\u003c/em>, would be his last “\u003ca href=\"https://www.xxlmag.com/rod-wave-last-sad-album/\">sad-ass album\u003c/a>.” It might be more accurate to call his music yearning: He is certainly a bluesman, but often his songs are about pushing forward through tragedy and bearing the brunt of loss. It’s easy to understand how that approach has resonated in these pandemic years; Rod has had an album debut in the Top 2 on the \u003cem>Billboard\u003c/em> 200 every year since 2020. Unlike many other rappers in this conversation, he seems to create in isolation — his records barely have any features, and he\u003ca href=\"https://www.complex.com/music/drake-responds-rod-wave-explanation-turning-down-collaboration\"> nixed\u003c/a> a Drake collab on the grounds that he wasn’t satisfied with his own contribution to the track. His music is sympathetic and accessible, vulnerable in an almost ordinary way. It feels characteristic of the artist who makes it, cautious and homespun. \u003c/p>\n\u003cp>[pullquote]All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life.[/pullquote]Lil Durk’s rise started out a bit more traditional. The Chicago rapper was initially swept up in the drill gold rush of the early 2010s, but his career stalled; A&Rs didn’t seem to know what to do with him, and he was released from his Def Jam deal in 2018. He has been steadily resurfacing ever since: five \u003cem>Billboard\u003c/em> Top 5 albums in four years, three of those certified platinum, including a collaboration with Lil Baby. This year, he sold out the United Center for the hometown show of his \u003cem>7220\u003c/em> tour. Similarly to Rod, Durk’s success is built on openness, but his music sets a far colder mood, hardened against the harsh realities of the violence its words brush against. As drill continues its global expansion, Durk has developed in meditative directions. He does have a bruiser mode where he cuts the autotune and reflects on the cruelty he has experienced, but his most reflective mode, the default one that earned him the nickname “The Voice,” is poignant, droning singsong. Both qualities have made him a reliable foil for rappers like Drake, Cardi B, Gucci Mane and Meek Mill.\u003c/p>\n\u003cp>Somewhere beyond the currently quantifiable lies Yeat. A former Slayworld affiliate, his music pries open rage beats (cascading electronic production often resembling 8-bit video game music) and tunnels through their vortexes, his wheezing flows opening portals to realms as vivid as \u003cem>Castlevania\u003c/em>‘s gothic horror or \u003cem>Doom\u003c/em>‘s hell-raising pandemonium. Yeat songs are soundscapes for a digital world, so it’s unsurprising that the native ecosystem for his music is TikTok, where songs can exist almost purely as trend fuel or edit glue. He has carved out a distinct niche as a meme rapper — his song “Rich Minions” prompted zealous, suit-wearing teenagers to mob screenings of a \u003cem>Despicable Me\u003c/em> prequel — and on YouTube he is a king of the fan-made AMV, or anime music video. As surreal and stupefying as his rise has been, there is something genuinely mesmerizing in the music, whose Simlish cadences really do feel equipped with the power to make memes real.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FdzaIa9pYmg\u003c/p>\n\u003cp>If there is an exception that proves the rule, it is Kodak Black, whose ignominy often overshadows the music he makes. The Florida rapper reemerged at the top of the year from an incarceration-induced down period, and with “Super Gremlin” notched the year’s biggest YouTube hit to not have come from the \u003cem>Encanto\u003c/em> soundtrack. He is a melodic rapper’s melodic rapper: Roddy Ricch\u003ca href=\"https://www.complex.com/music/roddy-ricch-names-big-3-rappers-of-his-generation-nle-choppa-snubbed\"> dubbed\u003c/a> him one of their generation’s big three (along with YoungBoy), and Drake separately delivered his own endorsement: “You really all that for this generation and the next one if we being honest,” he\u003ca href=\"https://www.xxlmag.com/drake-kodak-black-cosign/\"> wrote\u003c/a>. Kendrick Lamar must feel similarly, since he used Kodak as a proxy on his crucible of an album, \u003cem>Mr. Morale & the Big Steppers\u003c/em>, a decision that received considerable \u003ca href=\"https://www.mic.com/culture/kendrick-lamar-kodak-black-mr-morale-big-steppers\">backlash\u003c/a>, but one that, in its own way, seems to wrestle with star power and celebrity responsibility and cult followings, with Kendrick himself longing to retreat to the periphery.\u003c/p>\n\u003cp>The notoriety that Kodak does have, or the infamy he has earned, is rooted in a buffoonery that has stretched into lawlessness. He has a long rap sheet, including a charge of first-degree criminal sexual conduct (which he \u003ca href=\"https://www.rollingstone.com/music/music-news/kodak-black-pleads-guilty-to-first-degree-assault-and-battery-in-sexual-misconduct-case-1162747/\">pled down\u003c/a> to first-degree assault and battery last year) and a firearm charge (which was \u003ca href=\"https://www.nytimes.com/2021/01/20/arts/music/trump-pardons-lil-wayne-kodak-black.html\">commuted\u003c/a> by then-President Donald Trump in 2020). And, frankly, he is incendiary and exasperating: The rapper has an extensive history of ignorant, colorist, sexist comments. All that baggage is saddling one of the most talented prospects in recent years, a rapper beloved by critics until he made himself unlovable. The same impishness that has made him a super gremlin in public seems to govern his songs; his croaked raps are charged with a mischievous energy. Kodak likely benefits most among his peers from operating on the fringes, where his nonstop antics don’t have to face the more searing scrutiny of the megawatt spotlight.\u003c/p>\n\u003cp>In that way and others, staying out of the public eye can be a PR strategy for circumventing the demands made of headliners. Talk of the ethics of streaming tends to center on the platforms, but on the user end there seems to be a disparity between the way people talk about music and the way they listen, or perhaps between those doing the talking and those doing the listening. Kodak is a streaming mainstay despite his history. YoungBoy and Rod Wave have been\u003ca href=\"https://pitchfork.com/news/nba-youngboy-pleads-guilty-to-misdemeanor-battery/\"> similarly\u003c/a>\u003ca href=\"https://www.rollingstone.com/music/music-news/rod-wave-choked-ex-domestic-battery-charge-1352058/\"> detained\u003c/a>. Even Durk isn’t \u003ca href=\"https://www.xxlmag.com/lil-durk-defends-morgan-wallen-encourages-kendrick-lamar-work-with-him/\">free\u003c/a> of \u003ca href=\"https://www.rollingstone.com/music/music-news/lil-durk-attempted-murder-charge-dropped-1234616773/\">controversy\u003c/a>. Rap has long been a business that courts provocation to build momentum, like a wrestling heel on a promo run. But the opposite can be true, too: Sometimes the best way to maintain momentum is to create as little friction as possible, to avoid controversy at all costs. Yeat often can’t even be bothered to show his face. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, beyond the bad behavior, there is something subtler and more fascinating at play: All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life. Put YoungBoy or Rod Wave on shuffle and the songs can begin to bleed together. The artists are making distinctive, captivating music within their concealed little nooks, but they are using defined formulas to do so. It is the perfect balance for remaining hidden in plain sight. Their work never feels out of place on any modern rap playlist, but click away from the infinite wade of the stream and into their individual discographies, and a secret little sphere is unveiled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 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=How+niche+rap+stars+quietly+conquered+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find the emergent rap stars in 2022, you might be looking in the wrong place. A \u003ca href=\"https://www.billboard.com/pro/hip-hop-music-most-popular-genre-dominance-slipping/\">recent \u003cem>Billboard\u003c/em> feature\u003c/a> about hip-hop’s status as a market leader suggested that a generation of rap stars is aging out and few new ones are filling the void. But scan lists of the most streamed artists of the year and, between the boldface names of artists like Drake, Future, Eminem and Kendrick Lamar, you will find a few whose presence feels less inevitable. The metrics for stardom have always required specific machinery, but that machinery has been altered in the 2020s, thanks in large part to changes in streaming infrastructure. The digital paths we came to recognize in the last decade tended to aim at an eventual level-up: leveraging a base on SoundCloud into radio play, or turning a viral video into a TV spot. For some in this latest generation, that kind of signal boost is beside the point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be fair, it is true that hip-hop is facing some critical challenges that have curbed its star power in recent years. Its lyrics have become a favorite tool of the carceral system, both stateside and abroad. An obscene number of young rap stars have been killed by gun violence and opioid abuse — though, importantly, that rise has been commensurate with record deaths in both categories nationwide over the same period, according to \u003ca href=\"https://www.nbcnews.com/news/us-news/third-straight-year-america-hits-grim-milestone-600-multiple-victim-sh-rcna58230\">The Gun Violence Archive\u003c/a> and the \u003ca href=\"https://www.cnn.com/2022/12/14/health/drug-overdose-deaths-slowing/index.html\">CDC\u003c/a>, respectively. (As usual, rap is merely reflecting the values of American culture.) Meanwhile, a few of rap’s biggest names have tanked their own careers in public lately. DaBaby talked his way into oblivion. Questions remain about Travis Scott’s culpability in the deaths of concertgoers during the Astroworld festival in 2021. His mentor Kanye West, or Ye, spent months effectively self-identifying as antisemitic, before capping the year with a note of \u003ca href=\"https://www.npr.org/2022/12/02/1140218872/ye-antisemitism-alex-jones-podcast\">praise for Hitler\u003c/a> that seemed to stun even the notorious far-right conspiracy theorist Alex Jones.\u003c/p>\n\u003cp>But beyond these complications, the idea that rap stardom at large is dwindling must come down to the model used to measure it. For most of pop history, the household name has been fashioned by a combination of radio plays and TV appearances, awards show nominations and “it” moments — signifiers that add up to an artist as a cultural force, prominent in ways that can’t be ignored. And by those standards, there are still those whose ascendancy has been presented in familiar terms. Lil Baby, Gunna and Jack Harlow, each riding a comfortable upswing, all scored hit albums and singles this year. Megan Thee Stallion remains an A-lister, her name and music at the center of discourse despite the chaos of her situation. Polo G and Playboi Carti made such dominant showings in the early COVID era, they were able to take 2022 off and still feel unavoidable. 21 Savage, coming off a long break, reaffirmed his status with Drake at his side.\u003c/p>\n\u003cp>But at the fringes of that more recognizable sphere of celebrity, a new kind of star has been hard at work: the platform-conscious niche star, whose massive fanbase only looks small when compared with total ubiquity. Hip-hop has some precedent for such figures, embodied in those regional successes who operate without much concern for crossing over. And the diminished visibility of many of these niche stars has at least a little to do with their aversion to press, or the press’s aversion to them. But if you believe there’s a meaningful distinction between what is outwardly omnipresent in culture and what is \u003cem>reaching\u003c/em> people — between what is promoted and what is actually beloved — the fringe rap star is a living test of this principle, the kind of artist whose success manifests in being actively listened to by 100 people, rather than casually heard by 1,000. \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/k-PaOWxvnz0'\n title='//www.youtube.com/embed/k-PaOWxvnz0'\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 2022, YoungBoy Never Broke Again (or \u003ca href=\"https://www.npr.org/artists/898640762/nba-youngboy\">NBA YoungBoy\u003c/a>), \u003ca href=\"https://www.npr.org/artists/783292357/rod-wave\">Rod Wave\u003c/a>, Lil Durk, Yeat and a resurgent Kodak Black stood out among a cohort of artists who are finding ways to connect with legions of listeners while the wider pop cultural apparatus mostly ignores them. Their central appeal is their music, all varying strains of melodic rap. Their success is tangible, at least by the streaming era’s murky math: Of the 13 albums \u003ca href=\"https://www.riaa.com/riaas-2022-year-end-gold-platinum-awards/\">certified by the RIAA\u003c/a> this year, Durk’s \u003cem>7220\u003c/em> was one of only five to go platinum. YoungBoy scored two of the eight gold plaques, and Rod and Kodak each nabbed one more. The stars behind these numbers have each produced their own distilled sound, and though their paths differ, their stories overlap. Through the gaps in social platforming and the increased sprawl of the streaming model (with direct-to-consumer meeting word-of-mouth), these performers took the leap, some despite significant controversy, to help define the year in rap for those who took notice.\u003c/p>\n\u003cp>NBA YoungBoy is the archetype for this phenomenon. The Baton Rouge rapper’s total streaming numbers are second to only Drake’s among all artists, and yet he is hidden. He has no radio presence. He isn’t even in the Top 20 on \u003cem>Billboard\u003c/em>‘s\u003ca href=\"https://www.billboard.com/charts/year-end/top-artists/\"> year-end artists\u003c/a> list. Nor is he one of Spotify’s Top 5 most-streamed artists in America. Where sheer numbers are concerned, his competitive edge against music’s one-percenters lies in a machinelike productivity. YoungBoy seems to have the upload button held down: He’s prolific but consistent, always active and always online, rolling out content at the algorithm’s desired pace. Musically, there is a subtle ranginess within his squawked, autotuned performances that has kept him clear of stagnancy, a contrast you can hear in his last two solo projects — the Cash Money-inspired 3\u003cem>800 Degrees\u003c/em> is belligerent and burly, whereas \u003cem>Ma’ I Got A Family\u003c/em> is more subdued and tender. It’s that duality that has helped sustain his nonstop creative march.\u003c/p>\n\u003cp>Rod Wave has picked up a reputation as rap’s resident melancholiac, so much so that he announced that his August LP, \u003cem>Beautiful Mind\u003c/em>, would be his last “\u003ca href=\"https://www.xxlmag.com/rod-wave-last-sad-album/\">sad-ass album\u003c/a>.” It might be more accurate to call his music yearning: He is certainly a bluesman, but often his songs are about pushing forward through tragedy and bearing the brunt of loss. It’s easy to understand how that approach has resonated in these pandemic years; Rod has had an album debut in the Top 2 on the \u003cem>Billboard\u003c/em> 200 every year since 2020. Unlike many other rappers in this conversation, he seems to create in isolation — his records barely have any features, and he\u003ca href=\"https://www.complex.com/music/drake-responds-rod-wave-explanation-turning-down-collaboration\"> nixed\u003c/a> a Drake collab on the grounds that he wasn’t satisfied with his own contribution to the track. His music is sympathetic and accessible, vulnerable in an almost ordinary way. It feels characteristic of the artist who makes it, cautious and homespun. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lil Durk’s rise started out a bit more traditional. The Chicago rapper was initially swept up in the drill gold rush of the early 2010s, but his career stalled; A&Rs didn’t seem to know what to do with him, and he was released from his Def Jam deal in 2018. He has been steadily resurfacing ever since: five \u003cem>Billboard\u003c/em> Top 5 albums in four years, three of those certified platinum, including a collaboration with Lil Baby. This year, he sold out the United Center for the hometown show of his \u003cem>7220\u003c/em> tour. Similarly to Rod, Durk’s success is built on openness, but his music sets a far colder mood, hardened against the harsh realities of the violence its words brush against. As drill continues its global expansion, Durk has developed in meditative directions. He does have a bruiser mode where he cuts the autotune and reflects on the cruelty he has experienced, but his most reflective mode, the default one that earned him the nickname “The Voice,” is poignant, droning singsong. Both qualities have made him a reliable foil for rappers like Drake, Cardi B, Gucci Mane and Meek Mill.\u003c/p>\n\u003cp>Somewhere beyond the currently quantifiable lies Yeat. A former Slayworld affiliate, his music pries open rage beats (cascading electronic production often resembling 8-bit video game music) and tunnels through their vortexes, his wheezing flows opening portals to realms as vivid as \u003cem>Castlevania\u003c/em>‘s gothic horror or \u003cem>Doom\u003c/em>‘s hell-raising pandemonium. Yeat songs are soundscapes for a digital world, so it’s unsurprising that the native ecosystem for his music is TikTok, where songs can exist almost purely as trend fuel or edit glue. He has carved out a distinct niche as a meme rapper — his song “Rich Minions” prompted zealous, suit-wearing teenagers to mob screenings of a \u003cem>Despicable Me\u003c/em> prequel — and on YouTube he is a king of the fan-made AMV, or anime music video. As surreal and stupefying as his rise has been, there is something genuinely mesmerizing in the music, whose Simlish cadences really do feel equipped with the power to make memes real.\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/FdzaIa9pYmg'\n title='//www.youtube.com/embed/FdzaIa9pYmg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If there is an exception that proves the rule, it is Kodak Black, whose ignominy often overshadows the music he makes. The Florida rapper reemerged at the top of the year from an incarceration-induced down period, and with “Super Gremlin” notched the year’s biggest YouTube hit to not have come from the \u003cem>Encanto\u003c/em> soundtrack. He is a melodic rapper’s melodic rapper: Roddy Ricch\u003ca href=\"https://www.complex.com/music/roddy-ricch-names-big-3-rappers-of-his-generation-nle-choppa-snubbed\"> dubbed\u003c/a> him one of their generation’s big three (along with YoungBoy), and Drake separately delivered his own endorsement: “You really all that for this generation and the next one if we being honest,” he\u003ca href=\"https://www.xxlmag.com/drake-kodak-black-cosign/\"> wrote\u003c/a>. Kendrick Lamar must feel similarly, since he used Kodak as a proxy on his crucible of an album, \u003cem>Mr. Morale & the Big Steppers\u003c/em>, a decision that received considerable \u003ca href=\"https://www.mic.com/culture/kendrick-lamar-kodak-black-mr-morale-big-steppers\">backlash\u003c/a>, but one that, in its own way, seems to wrestle with star power and celebrity responsibility and cult followings, with Kendrick himself longing to retreat to the periphery.\u003c/p>\n\u003cp>The notoriety that Kodak does have, or the infamy he has earned, is rooted in a buffoonery that has stretched into lawlessness. He has a long rap sheet, including a charge of first-degree criminal sexual conduct (which he \u003ca href=\"https://www.rollingstone.com/music/music-news/kodak-black-pleads-guilty-to-first-degree-assault-and-battery-in-sexual-misconduct-case-1162747/\">pled down\u003c/a> to first-degree assault and battery last year) and a firearm charge (which was \u003ca href=\"https://www.nytimes.com/2021/01/20/arts/music/trump-pardons-lil-wayne-kodak-black.html\">commuted\u003c/a> by then-President Donald Trump in 2020). And, frankly, he is incendiary and exasperating: The rapper has an extensive history of ignorant, colorist, sexist comments. All that baggage is saddling one of the most talented prospects in recent years, a rapper beloved by critics until he made himself unlovable. The same impishness that has made him a super gremlin in public seems to govern his songs; his croaked raps are charged with a mischievous energy. Kodak likely benefits most among his peers from operating on the fringes, where his nonstop antics don’t have to face the more searing scrutiny of the megawatt spotlight.\u003c/p>\n\u003cp>In that way and others, staying out of the public eye can be a PR strategy for circumventing the demands made of headliners. Talk of the ethics of streaming tends to center on the platforms, but on the user end there seems to be a disparity between the way people talk about music and the way they listen, or perhaps between those doing the talking and those doing the listening. Kodak is a streaming mainstay despite his history. YoungBoy and Rod Wave have been\u003ca href=\"https://pitchfork.com/news/nba-youngboy-pleads-guilty-to-misdemeanor-battery/\"> similarly\u003c/a>\u003ca href=\"https://www.rollingstone.com/music/music-news/rod-wave-choked-ex-domestic-battery-charge-1352058/\"> detained\u003c/a>. Even Durk isn’t \u003ca href=\"https://www.xxlmag.com/lil-durk-defends-morgan-wallen-encourages-kendrick-lamar-work-with-him/\">free\u003c/a> of \u003ca href=\"https://www.rollingstone.com/music/music-news/lil-durk-attempted-murder-charge-dropped-1234616773/\">controversy\u003c/a>. Rap has long been a business that courts provocation to build momentum, like a wrestling heel on a promo run. But the opposite can be true, too: Sometimes the best way to maintain momentum is to create as little friction as possible, to avoid controversy at all costs. Yeat often can’t even be bothered to show his face. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Starline Social Club to Close at the End of the Year",
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"content": "\u003cp>The Starline Social Club in Oakland will close at the end of 2022, according to the club’s Sam White.\u003c/p>\n\u003cp>“We are sad to announce that Starline Social Club is going up for sale and will cease current operations Jan 1st,” White \u003ca href=\"https://www.instagram.com/p/CmPseQ_PW0j/\">announced in an Instagram post\u003c/a> on Friday afternoon. “We have had an amazing run but it is time for new operators to take over the space and create something new for Oakland.”\u003c/p>\n\u003cp>The nightclub’s final event, a New Year’s Eve party headlined by local Panamanian hip-hop duo Los Rakas, is scheduled for Dec. 31. Several other shows after Jan. 1 have been rescheduled at other Bay Area venues, including Cornerstone, the Ivy Room, Cafe du Nord and the Chapel.\u003c/p>\n\u003cfigure id=\"attachment_13897242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg\" alt=\"The outside of the shuttered Starline Social Club in Oakland\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13897242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-3-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Starline Social Club sits closed in 2021, during the pandemic. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Starline Social Club opened in 2015 and quickly established itself as an eclectic, unpretentious home for both local and touring artists. A former Odd Fellows hall built in 1893, it has hosted local DJ nights, art shows, and the \u003ca href=\"https://www.youtube.com/watch?v=KbtKceoVkNA\">occasional music video shoot\u003c/a> alongside national acts like \u003ca href=\"https://www.kqed.org/arts/12495357/live-review-solange-at-the-starline-social-club-oakland\">Solange\u003c/a>, PinkPantheress, Hannibal Burress and \u003ca href=\"https://www.kqed.org/arts/11794501/live-review-mitski-kills-em-softly-at-the-starline-in-oakland\">Mitski\u003c/a>.\u003c/p>\n\u003cp>Friday’s statement is not the first time the Starline has announced its closure. In late 2020, during the pandemic, the Starline’s ownership reported its plans to sell the building and the business. The 8,520-square-foot building, which includes a bar, lounge, kitchen and upstairs ballroom, \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\">went on the market for $3.2 million\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13897239']Months later, however, the club announced that it would instead reopen as a worker-owned co-op — a move that appeared to be a renaissance for the venue, but that \u003ca href=\"https://www.kqed.org/arts/13897239/former-employees-call-co-op-plans-into-question-at-starline-social-club\">“blindsided” some former employees\u003c/a>, who had been laid off since March 2020. Several told KQED that the owners had not reached out to them personally, and were using their likeness to rebuild their image within the community. Others questioned the $711,514 that the club had received in Payroll Protection Program loans in 2020 and 2021.\u003c/p>\n\u003cp>In his closing announcement on Friday, White appeared to acknowledge the tumult of the past couple years.\u003c/p>\n\u003cp>“A special thanks to our incredible management team and staff who stuck together through all the twists and turns of reopening,” White wrote. “It has been an honor working with all of you. Your generosity and strength has been humbling.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The Oakland venue, home to an eclectic schedule of music, art and comedy, will close Dec. 31, according to owners. ",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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