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"content": "\u003cp>For the Bay Area music scene, it was a year of grateful if tentative recovery. It was also marked by a steady drumbeat of loss. Here, we remember eight artists from the jazz, soul, R&B and electronic music community who died in 2022.\u003c/p>\n\u003cp>Among the more recent and raw departures was Australian-born alto saxophonist \u003cstrong>Andrew Speight\u003c/strong>, who was killed on Dec. 1 near his home in Burlingame when his Porsche was struck by north and southbound Caltrain locomotives at the Broadway Station. Known as “Hurricane” due to the gale force power of his solos, the 58-year-old Speight was a ubiquitous and often galvanizing presence on Bay Area stages. He also served as the longtime director of San Francisco State University’s jazz program and was a Stanford Jazz Workshop faculty member.\u003c/p>\n\u003cp>Word of his death sparked a torrent of social media tributes from former students and colleagues who described his vaunted musicianship and generosity. “This man gave and gave and gave,” wrote fellow saxophonist and educator Patrick Wolff. “Heart, wisdom, knowledge, eighth notes, history, mentorship, funny criticism, painful criticism, fire, late night friendship, car advice, reed advice, more eighth notes, the right chord changes, which record to get, which horn to get and probably one or three more choruses than anyone else had to give.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RIc7DkMcHUs\u003c/p>\n\u003cp>Speight’s slim discography meant that he didn’t receive as much national recognition as he could have, but he made an indelible impression on albums like 2006’s \u003cem>Marsalis Music Honors Series: Jimmy Cobb\u003c/em>, a project honoring the legendary drummer, produced by good friend Branford Marsalis. Speight himself co-produced 2008’s \u003cem>Tough Guys\u003c/em> by the Generations Ensemble, an all-star project that brought veteran masters Jimmy Cobb, trumpeter Marcus Belgrave, pianist Ronnie Mathews and bassist Ray Drummond to SFSU. His family will hold a series of events, including a funeral and a \u003ca href=\"https://www.facebook.com/events/1347680332636292/?ref=newsfeed\">flower-powered protest\u003c/a> at the Burlingame crash site, on Dec. 18.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Speight preached and lived the bebop gospel, trumpeter and vocalist \u003cstrong>Rich Armstrong\u003c/strong> embodied jazz’s populist possibilities as a charismatic entertainer. He was the kind of player who became a centerpiece in any band he joined, providing a steady live-wire current with his musical ebullience. His sudden death at 55 on Oct. 7 inspired an outpouring of memories and tributes reflecting how widely he circulated on the Bay Area music scene.\u003c/p>\n\u003cp>Armstrong seemed to be everywhere, and every band he played with took on some of his joyous go-for-broke spirit. Those included Roberta Donnay’s Prohibition Mob Band, Lydia Pense and Cold Blood, the Blue Moon Gypsies, which he co-led, and various iterations of the Jazz Mafia collective. Jazz and funk, R&B and pop, rock and soul — Armstrong was game for anything, and had a sixth sense for adding just what any particular situation needed, like a \u003ca href=\"https://www.facebook.com/kevbasskeys/videos/514421596737730\">torrid plunger mute solo\u003c/a> with Boz Scaggs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zaVy6H3k5cQ\u003c/p>\n\u003cp>Oakland jazz pianist \u003cstrong>Muziki Duane Roberson\u003c/strong>’s death on Aug. 28, at the age of 76, deprives the scene of a well-traveled artist who made it a point to take younger players under his wing. A Vietnam War vet who spent 12 years as keyboard player and music director for the San Francisco Mime Troupe, Roberson was a mainstay on the Bay Area scene as a bandleader and accompanist. He mentored many younger Bay Area artists, most conspicuously through this work with the Berkeley jazz/funk/Latin/poetry group Mingus Amungus, which emerged out of Berkeley High in the mid-1990s.\u003c/p>\n\u003cp>The East Bay’s soul and R&B community also suffered numerous losses in 2022, starting Jan. 1 with Oakland guitarist, songwriter, producer, and label owner \u003cstrong>Marvin Holmes\u003c/strong>. A patriarch of Oakland funk as the leader of Marvin Holmes & The Uptights, he spread East Bay flavor around the nation with the 1969 hit “\u003ca href=\"https://www.youtube.com/watch?v=aafbcMrMtGk\">The Funky Mule, Part 1 & 2\u003c/a>.” His bands served as a proving ground for generations of Bay Area musicians, and Holmes bridged musical eras when he played on several seminal Too $hort albums in the 1980s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wPr0KoudDmc\u003c/p>\n\u003cp>In a one-two punch to the East Bay scene’s gut, vocalist \u003cstrong>Freddie Hughes\u003c/strong> followed Holmes in death just two weeks later on Jan. 18. The Oakland-reared soul belter’s international renown, particularly in the United Kingdom, stood in stark contrast to his relatively low profile at home. While his recording career hit an early peak with the 1968 hit “\u003ca href=\"https://www.youtube.com/watch?v=asYkS0YXyzI\">Send My Baby Back\u003c/a>,” Hughes played an essential role in shaping the sound of East Bay soul in an era defined by church-trained Black vocalists who brought the fervent pleas of gospel to secular settings. Hughes died at the age of 78 from leukemia and COVID-19 complications, according his son Derick Hughes (the former vocalist with Tower of Power and Roberta Flack).\u003c/p>\n\u003cp>With a career predating the Bay Area’s 1960s soul pioneers, reed player \u003cstrong>Richard Hadlock\u003c/strong> was one of the last figures from the trad jazz scene that flourished in the Bay Area in the years after World War II. (Thankfully, vocalist Barbara Dane is still with us). A saxophonist, publisher, journalist, historian, educator and broadcaster who long called Berkeley home, Hadlock is best known in some circles as the author of \u003cem>Jazz Masters of the 20s\u003c/em> (Da Capo), a seminal book of biographical sketches first published in 1965. He died on Feb. 2 at the age of 94.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4qmGw74tW2Y\u003c/p>\n\u003cp>As a DJ, Hadlock introduced his \u003cem>Annals of Jazz\u003c/em> show on the San Francisco station KJAZ in 1959, followed by a nearly two-decade run at on KQED. In 1982, he brought \u003cem>Annals of Jazz\u003c/em> to Bay Area jazz station KCSM, resulting in a body of work that earned him the 2020 Marian McPartland-Willis Conover Award for Lifetime Achievement by the Jazz Journalists Association.\u003c/p>\n\u003cp>But it was as a clarinetist that he first moved to the Bay Area, when trombonist Turk Murphy hired Hadlock for his Dixieland band. Hadlock played with just about all the leading figures on the traditional jazz scene over the decades, while also teaching kindergarten in Berkeley and writing concert reviews, newspaper columns and liner notes (including a Grammy-nominated essay for a Time-Life box set on pianist Joe Sullivan).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0gOZGw-AMxs&feature=emb_imp_woyt\u003c/p>\n\u003cp>Death also took a toll on leading figures who’ve made the Bay Area a crucial incubator of new musical technologies. Electronic music innovator \u003cstrong>Don Lewis\u003c/strong>, whose Live Electronic Orchestra system allowed him to simultaneously control multiple synthesizers and other instruments via custom keyboards, died on Nov. 6 at the age of 81. Based in Pleasanton since 1981, he worked widely across the industry, collaborating on the seminal Roland TR-808 drum machine with the company’s founder Ikutarô Kakehashi and designing sounds for the Yamaha DX7 and Hammond and ARP keyboards. In popular music, he collaborated with Michael Jackson, Quincy Jones and the Beach Boys.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco-born \u003cstrong>David Smith\u003c/strong>, who died on May 31 at the age of 72, opened up new possibilities for musicians interested in creating electronic music with the first fully programmable synthesizer, the Prophet-5. The UC Berkeley-trained engineer also spearheaded the development of MIDI, the standard protocol for synchronizing audio equipment with electronic instruments. In 2013, he and Roland founder Ikutaro Kakehashi received a Technical Grammy Award for their role in developing MIDI, a game-changing interface.\u003c/p>\n\n",
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Jazz and funk, R&B and pop, rock and soul — Armstrong was game for anything, and had a sixth sense for adding just what any particular situation needed, like a \u003ca href=\"https://www.facebook.com/kevbasskeys/videos/514421596737730\">torrid plunger mute solo\u003c/a> with Boz Scaggs.\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/zaVy6H3k5cQ'\n title='//www.youtube.com/embed/zaVy6H3k5cQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oakland jazz pianist \u003cstrong>Muziki Duane Roberson\u003c/strong>’s death on Aug. 28, at the age of 76, deprives the scene of a well-traveled artist who made it a point to take younger players under his wing. A Vietnam War vet who spent 12 years as keyboard player and music director for the San Francisco Mime Troupe, Roberson was a mainstay on the Bay Area scene as a bandleader and accompanist. He mentored many younger Bay Area artists, most conspicuously through this work with the Berkeley jazz/funk/Latin/poetry group Mingus Amungus, which emerged out of Berkeley High in the mid-1990s.\u003c/p>\n\u003cp>The East Bay’s soul and R&B community also suffered numerous losses in 2022, starting Jan. 1 with Oakland guitarist, songwriter, producer, and label owner \u003cstrong>Marvin Holmes\u003c/strong>. A patriarch of Oakland funk as the leader of Marvin Holmes & The Uptights, he spread East Bay flavor around the nation with the 1969 hit “\u003ca href=\"https://www.youtube.com/watch?v=aafbcMrMtGk\">The Funky Mule, Part 1 & 2\u003c/a>.” His bands served as a proving ground for generations of Bay Area musicians, and Holmes bridged musical eras when he played on several seminal Too $hort albums in the 1980s.\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/wPr0KoudDmc'\n title='//www.youtube.com/embed/wPr0KoudDmc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a one-two punch to the East Bay scene’s gut, vocalist \u003cstrong>Freddie Hughes\u003c/strong> followed Holmes in death just two weeks later on Jan. 18. The Oakland-reared soul belter’s international renown, particularly in the United Kingdom, stood in stark contrast to his relatively low profile at home. While his recording career hit an early peak with the 1968 hit “\u003ca href=\"https://www.youtube.com/watch?v=asYkS0YXyzI\">Send My Baby Back\u003c/a>,” Hughes played an essential role in shaping the sound of East Bay soul in an era defined by church-trained Black vocalists who brought the fervent pleas of gospel to secular settings. Hughes died at the age of 78 from leukemia and COVID-19 complications, according his son Derick Hughes (the former vocalist with Tower of Power and Roberta Flack).\u003c/p>\n\u003cp>With a career predating the Bay Area’s 1960s soul pioneers, reed player \u003cstrong>Richard Hadlock\u003c/strong> was one of the last figures from the trad jazz scene that flourished in the Bay Area in the years after World War II. (Thankfully, vocalist Barbara Dane is still with us). A saxophonist, publisher, journalist, historian, educator and broadcaster who long called Berkeley home, Hadlock is best known in some circles as the author of \u003cem>Jazz Masters of the 20s\u003c/em> (Da Capo), a seminal book of biographical sketches first published in 1965. He died on Feb. 2 at the age of 94.\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/4qmGw74tW2Y'\n title='//www.youtube.com/embed/4qmGw74tW2Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a DJ, Hadlock introduced his \u003cem>Annals of Jazz\u003c/em> show on the San Francisco station KJAZ in 1959, followed by a nearly two-decade run at on KQED. In 1982, he brought \u003cem>Annals of Jazz\u003c/em> to Bay Area jazz station KCSM, resulting in a body of work that earned him the 2020 Marian McPartland-Willis Conover Award for Lifetime Achievement by the Jazz Journalists Association.\u003c/p>\n\u003cp>But it was as a clarinetist that he first moved to the Bay Area, when trombonist Turk Murphy hired Hadlock for his Dixieland band. Hadlock played with just about all the leading figures on the traditional jazz scene over the decades, while also teaching kindergarten in Berkeley and writing concert reviews, newspaper columns and liner notes (including a Grammy-nominated essay for a Time-Life box set on pianist Joe Sullivan).\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/0gOZGw-AMxs'\n title='//www.youtube.com/embed/0gOZGw-AMxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Death also took a toll on leading figures who’ve made the Bay Area a crucial incubator of new musical technologies. Electronic music innovator \u003cstrong>Don Lewis\u003c/strong>, whose Live Electronic Orchestra system allowed him to simultaneously control multiple synthesizers and other instruments via custom keyboards, died on Nov. 6 at the age of 81. Based in Pleasanton since 1981, he worked widely across the industry, collaborating on the seminal Roland TR-808 drum machine with the company’s founder Ikutarô Kakehashi and designing sounds for the Yamaha DX7 and Hammond and ARP keyboards. In popular music, he collaborated with Michael Jackson, Quincy Jones and the Beach Boys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco-born \u003cstrong>David Smith\u003c/strong>, who died on May 31 at the age of 72, opened up new possibilities for musicians interested in creating electronic music with the first fully programmable synthesizer, the Prophet-5. The UC Berkeley-trained engineer also spearheaded the development of MIDI, the standard protocol for synchronizing audio equipment with electronic instruments. In 2013, he and Roland founder Ikutaro Kakehashi received a Technical Grammy Award for their role in developing MIDI, a game-changing interface.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why ‘All I Want for Christmas Is You’ Tops the Charts Every Year (2022 Included)",
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"content": "\u003cp>Mariah Carey is back on top again, with her holiday hit “All I Want for Christmas Is You” reaching the \u003ca href=\"https://www.billboard.com/charts/hot-100/\">no. 1 spot\u003c/a> on the Billboard Hot 100 songs chart this week for the fourth year in a row.\u003c/p>\n\u003cp>This makes it the \u003ca href=\"https://twitter.com/billboardcharts/status/1602379297817337857?s=20&t=7JKKyPVuXTWg778MTY7EQA\">first song in history\u003c/a> to have four separate runs at No. 1 on the chart, from 2019 to 2022.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"pop_17288,pop_14388,arts_13922351\"]The song was originally released on Carey’s 1994 Christmas album, but streaming services, technological changes and general holiday cheer have helped make it a hallmark of the Yuletide season only in recent years (to the delight of Carey fans and \u003ca href=\"https://www.wsj.com/articles/mariah-carey-all-i-want-for-christmas-song-shopping-retail-11670857012\">dismay of inundated retail workers\u003c/a> everywhere).\u003c/p>\n\u003cp>Carey broke from the mold by releasing original holiday music, since most artists at the time chose to cover Christmas standards, Gary Trust, Billboard’s senior director of charts, \u003ca href=\"https://www.npr.org/2021/12/25/1067966158/why-all-i-want-for-christmas-is-you-is-a-staple-year-after-year\">told NPR\u003c/a> last winter. And that gamble paid off (literally: \u003cem>The Economist\u003c/em> \u003ca href=\"https://www.economist.com/graphic-detail/2017/11/30/the-music-industry-should-be-dreaming-of-a-white-christmas\">reported in 2017\u003c/a> that Carey had earned over $60 million in royalties since its release).\u003c/p>\n\u003cp>“It sounds like what we’ve always traditionally thought a holiday song sounds like, with those jingle bells and just the fun, upbeat sound, but updated for the ’90s and obviously Mariah’s vocals,” Trust said. “With different lyrics, I feel like this could be a hit any time of the year.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Listeners and fans have prolonged the song’s popularity not only by playing it incessantly, but by making videos and memes about it every year (Carey herself partakes, including by famously \u003ca href=\"https://twitter.com/MariahCarey/status/1587293603629617153?s=20&t=V76VNLmhgNxUD5ysu7Yv5w\">announcing the start of the holiday season\u003c/a> the moment Halloween ends).\u003c/p>\n\u003cp>Christmas has become part of Carey’s identity to millions of people, he added, comparing her to “a modern-day Santa Claus.”\u003c/p>\n\u003cp>“She makes it really personal, and it’s just that connection back-and-forth,” he said. “I think memes really work when there’s that interaction, obviously. That’s how they keep growing. So I think if she didn’t have a sense of humor, maybe we wouldn’t connect with her as much.”\u003c/p>\n\u003ch2>The song has long been popular, but started topping charts recently\u003c/h2>\n\u003cp>The contemporary carol’s rankings have also been helped by \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">changes to Billboard’s chart rules\u003c/a> — specifically governing holiday music — over the last few decades.\u003c/p>\n\u003cp>“In short, ‘All I Want for Christmas Is You’ has long been a smash waiting for the metrics to catch up,” Chris Molanphy \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">wrote for Slate in 2019\u003c/a>. “Separately this decade, Billboard rebooted its former Christmas minichart as the Holiday 100, and ever since its launch in 2011, the Holiday chart has basically been the Mariah chart.”\u003c/p>\n\u003cp>https://twitter.com/billboardcharts/status/1602363007828463643\u003c/p>\n\u003cp>The song reached the Hot 100’s top 10 for the first time in Dec. 2017 and broke into the top five the following year. Its meteoric rise continued from there, as it’s held the top spot on the holiday charts (for two to three weeks straight) every year since 2019.\u003c/p>\n\u003cp>The streak continues this year, marking the song’s ninth total week in the top spot. It expands its record for a holiday song’s most time at No. 1 (more than doubling the time that the previous leader, David Seville & The Chipmunks’ “The Chipmunk Song,” spent there in 1958 — the same year the Hot 100 launched).\u003c/p>\n\u003cp>Carey called the news “such an amazing surprise and an early Christmas gift” in a \u003ca href=\"https://twitter.com/MariahCarey/status/1602611119276843008?s=20&t=0omQTGM8ezxgmiLlmttz0A\">celebratory tweet\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/MariahCarey/status/1602611119276843008\u003c/p>\n\u003ch2>Carey holds the (contested) Christmas crown\u003c/h2>\n\u003cp>The song is ruling other Billboard charts this week too, including the U.K. Singles Chart and the Billboard Global 200.\u003c/p>\n\u003cp>Meanwhile, YouTube Music \u003ca href=\"https://twitter.com/youtubemusic/status/1602740136344981506?s=20&t=7JKKyPVuXTWg778MTY7EQA\">announced Tuesday\u003c/a> that the song is No. 1 on the Top Songs U.S. chart and No. 2 on the Top Music Videos chart. And last week it also topped \u003ca href=\"https://twitter.com/spotifycharts/status/1602304814129598469/photo/1\">the global top songs\u003c/a> on Spotify, where it hit 1 billion streams \u003ca href=\"https://www.billboard.com/music/pop/mariah-carey-all-i-want-for-christmas-is-you-1-billion-streams-1235013842/\">last December\u003c/a>.\u003c/p>\n\u003cp>This latest milestone gives Carey a slew of additional bragging rights, if you run the numbers (which Billboard did).\u003c/p>\n\u003cp>It extends her record for the longest span of an artist ranking at No. 1 on the chart to 32 years, four months and three weeks (her debut single “Vision of Love” first made its ascent in Aug. 1990).\u003c/p>\n\u003cp>And it gives her a \u003ca href=\"https://twitter.com/billboardcharts/status/1602379484606464001?s=20&t=7JKKyPVuXTWg778MTY7EQA\">record 88th week\u003c/a> at No. 1 on the Hot 100, which is more than Rihanna or the Beatles can say.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Carey clearly reigns supreme, just don’t call her \u003cem>the\u003c/em> Queen of Christmas. She \u003ca href=\"https://www.npr.org/2022/11/18/1137714601/mariah-carey-christmas-queen-trademark\">lost her bid to trademark that title\u003c/a> and other related terms last month, after it was challenged by a full-time Christmas singer.\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=Why+%27All+I+Want+for+Christmas+Is+You%27+tops+the+charts+every+year+%282022+included%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mariah Carey is back on top again, with her holiday hit “All I Want for Christmas Is You” reaching the \u003ca href=\"https://www.billboard.com/charts/hot-100/\">no. 1 spot\u003c/a> on the Billboard Hot 100 songs chart this week for the fourth year in a row.\u003c/p>\n\u003cp>This makes it the \u003ca href=\"https://twitter.com/billboardcharts/status/1602379297817337857?s=20&t=7JKKyPVuXTWg778MTY7EQA\">first song in history\u003c/a> to have four separate runs at No. 1 on the chart, from 2019 to 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The song was originally released on Carey’s 1994 Christmas album, but streaming services, technological changes and general holiday cheer have helped make it a hallmark of the Yuletide season only in recent years (to the delight of Carey fans and \u003ca href=\"https://www.wsj.com/articles/mariah-carey-all-i-want-for-christmas-song-shopping-retail-11670857012\">dismay of inundated retail workers\u003c/a> everywhere).\u003c/p>\n\u003cp>Carey broke from the mold by releasing original holiday music, since most artists at the time chose to cover Christmas standards, Gary Trust, Billboard’s senior director of charts, \u003ca href=\"https://www.npr.org/2021/12/25/1067966158/why-all-i-want-for-christmas-is-you-is-a-staple-year-after-year\">told NPR\u003c/a> last winter. And that gamble paid off (literally: \u003cem>The Economist\u003c/em> \u003ca href=\"https://www.economist.com/graphic-detail/2017/11/30/the-music-industry-should-be-dreaming-of-a-white-christmas\">reported in 2017\u003c/a> that Carey had earned over $60 million in royalties since its release).\u003c/p>\n\u003cp>“It sounds like what we’ve always traditionally thought a holiday song sounds like, with those jingle bells and just the fun, upbeat sound, but updated for the ’90s and obviously Mariah’s vocals,” Trust said. “With different lyrics, I feel like this could be a hit any time of the year.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listeners and fans have prolonged the song’s popularity not only by playing it incessantly, but by making videos and memes about it every year (Carey herself partakes, including by famously \u003ca href=\"https://twitter.com/MariahCarey/status/1587293603629617153?s=20&t=V76VNLmhgNxUD5ysu7Yv5w\">announcing the start of the holiday season\u003c/a> the moment Halloween ends).\u003c/p>\n\u003cp>Christmas has become part of Carey’s identity to millions of people, he added, comparing her to “a modern-day Santa Claus.”\u003c/p>\n\u003cp>“She makes it really personal, and it’s just that connection back-and-forth,” he said. “I think memes really work when there’s that interaction, obviously. That’s how they keep growing. So I think if she didn’t have a sense of humor, maybe we wouldn’t connect with her as much.”\u003c/p>\n\u003ch2>The song has long been popular, but started topping charts recently\u003c/h2>\n\u003cp>The contemporary carol’s rankings have also been helped by \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">changes to Billboard’s chart rules\u003c/a> — specifically governing holiday music — over the last few decades.\u003c/p>\n\u003cp>“In short, ‘All I Want for Christmas Is You’ has long been a smash waiting for the metrics to catch up,” Chris Molanphy \u003ca href=\"https://slate.com/culture/2019/12/mariah-carey-christmas-number-1-billboard-hot-100.html\">wrote for Slate in 2019\u003c/a>. “Separately this decade, Billboard rebooted its former Christmas minichart as the Holiday 100, and ever since its launch in 2011, the Holiday chart has basically been the Mariah chart.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The song reached the Hot 100’s top 10 for the first time in Dec. 2017 and broke into the top five the following year. Its meteoric rise continued from there, as it’s held the top spot on the holiday charts (for two to three weeks straight) every year since 2019.\u003c/p>\n\u003cp>The streak continues this year, marking the song’s ninth total week in the top spot. It expands its record for a holiday song’s most time at No. 1 (more than doubling the time that the previous leader, David Seville & The Chipmunks’ “The Chipmunk Song,” spent there in 1958 — the same year the Hot 100 launched).\u003c/p>\n\u003cp>Carey called the news “such an amazing surprise and an early Christmas gift” in a \u003ca href=\"https://twitter.com/MariahCarey/status/1602611119276843008?s=20&t=0omQTGM8ezxgmiLlmttz0A\">celebratory tweet\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch2>Carey holds the (contested) Christmas crown\u003c/h2>\n\u003cp>The song is ruling other Billboard charts this week too, including the U.K. Singles Chart and the Billboard Global 200.\u003c/p>\n\u003cp>Meanwhile, YouTube Music \u003ca href=\"https://twitter.com/youtubemusic/status/1602740136344981506?s=20&t=7JKKyPVuXTWg778MTY7EQA\">announced Tuesday\u003c/a> that the song is No. 1 on the Top Songs U.S. chart and No. 2 on the Top Music Videos chart. And last week it also topped \u003ca href=\"https://twitter.com/spotifycharts/status/1602304814129598469/photo/1\">the global top songs\u003c/a> on Spotify, where it hit 1 billion streams \u003ca href=\"https://www.billboard.com/music/pop/mariah-carey-all-i-want-for-christmas-is-you-1-billion-streams-1235013842/\">last December\u003c/a>.\u003c/p>\n\u003cp>This latest milestone gives Carey a slew of additional bragging rights, if you run the numbers (which Billboard did).\u003c/p>\n\u003cp>It extends her record for the longest span of an artist ranking at No. 1 on the chart to 32 years, four months and three weeks (her debut single “Vision of Love” first made its ascent in Aug. 1990).\u003c/p>\n\u003cp>And it gives her a \u003ca href=\"https://twitter.com/billboardcharts/status/1602379484606464001?s=20&t=7JKKyPVuXTWg778MTY7EQA\">record 88th week\u003c/a> at No. 1 on the Hot 100, which is more than Rihanna or the Beatles can say.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Carey clearly reigns supreme, just don’t call her \u003cem>the\u003c/em> Queen of Christmas. She \u003ca href=\"https://www.npr.org/2022/11/18/1137714601/mariah-carey-christmas-queen-trademark\">lost her bid to trademark that title\u003c/a> and other related terms last month, after it was challenged by a full-time Christmas singer.\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=Why+%27All+I+Want+for+Christmas+Is+You%27+tops+the+charts+every+year+%282022+included%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Silky, long, straight hair and lightly tanned skin. Thin, upturned noses and puffy, pouty lips.\u003c/p>\n\u003cp>That’s what a typical Latina looks like, according to the viral TikTok trend “\u003ca href=\"https://www.refinery29.com/en-us/2022/11/11169730/copy-paste-latina-tiktok-trend\">copy-paste Latinas\u003c/a>.” This Eurocentric stereotype ignores the diversity of a group composed of every race, body type and hair texture that exists. The trend erupted in popularity in November, with TikTokers volunteering themselves as models for this combination of exoticized facial features and heavy, glamorous makeup — a callback to the “spicy Latina” cliche.\u003c/p>\n\u003cp>[aside postid='arts_13919834']As one of the fastest-growing demographics in the U.S., Latinos are finally solidifying their presence in popular culture. This newfound attention has its downsides: Creators are using tired tropes to ride the wave of relevance — and some are even misrepresenting themselves as Latino for clout.\u003c/p>\n\u003cp>And although Latinidad is a cultural identity that’s uniquely difficult to define, it’s being widely appropriated as fodder for content creation. Whether it’s the popularization of aesthetics like “\u003ca href=\"https://www.tiktok.com/@amsiedad/video/7117006314991029509?is_copy_url=1&is_from_webapp=v1&q=little%20mexican%20girl%20core&t=1670019670733\">little Mexican girl-core\u003c/a>” or Bad Bunny declaring “\u003ca href=\"https://www.nytimes.com/2022/05/06/arts/music/bad-bunny-un-verano-sin-ti.html\">now everyone wants to be Latino\u003c/a>,” there’s plenty of evidence the issue is pervasive.\u003c/p>\n\u003cp>Such co-opting can start with influencers and celebrities adopting styles associated with Latinidad, like large hoop earrings, or clothes inspired by the Cholo aesthetic derived from Los Angeles Chicano culture. It’s a gateway to adopting stereotypical mannerisms, ways of speaking, and attitudes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While this isn’t as brazen as cultural mimicry like \u003ca href=\"https://www.theguardian.com/fashion/2020/apr/14/blackfishing-black-is-cool-unless-youre-actually-black\">Blackfishing\u003c/a> or \u003ca href=\"https://www.huffpost.com/entry/asianfishing_l_6283c26ee4b0c2dce6557958\">Asianfishing\u003c/a>, Latino-fishing — pretending to be Latino — warps what Latin culture is and who gets to create it.\u003c/p>\n\u003ch3>Latinx identity in mainstream music\u003c/h3>\n\u003cp>If you feel you’re hearing more music in Spanish than ever before, you are. “Latin music,” a category typically associated with genres like reggaeton, dembow and bachata, has seen a surge in popularity since 2015. Revenue and streaming numbers have been climbing steadily, thanks to the commercial success of artists like Bad Bunny, J Balvin, Rauw Alejandro, Maluma and Karol G.\u003c/p>\n\u003cp>Categorizing so many musical styles under one term fails to recognize their variety, individuality and deep historical origins.\u003c/p>\n\u003cp>[aside postid='arts_13919253']“‘Latin music’ is a term that I really hate. I think that it flattens everything that we are about and allows for Latino-fishing to happen because the umbrella term of Latin music encompasses reggaeton and dembow, and it’s mostly misconstrued as [only] that,” says Venezuelan-American poet, writer and music journalist E.R. Pulgar.\u003c/p>\n\u003cp>When commercial entities market “Latin music,” they overlook genres that aren’t lucrative or well-known. Selecting a handful of sounds to represent an entire ethnicity gives an inaccurate picture of who creates “Latin music,” and who listens to it.\u003c/p>\n\u003cp>“When you take away all of that specificity and take away all of that history, you end up with a European wearing gigantic hoops on the cover of the ‘Viva Latino!’ Spotify playlist. And no one questions it,” says Pulgar.\u003c/p>\n\u003cp>They’re referring to Rosalía, a key name in any discussion of Latino-fishing. The Spanish pop star and producer has gained global success from the genre-mashing music she sings in her native tongue, blending elements of bachata, reggaeton, champeta, neoperreo and other Latin genres.\u003c/p>\n\u003cp>The end result is the widespread misconception that Rosalía is Latina. It’s a narrative she’s had plenty of assistance in creating, including her repeated nominations and wins at the Latin Grammys, and her inclusion in Latin music roundups and playlists on streaming services.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0bKH8ehi3X/\u003c/p>\n\u003cp>Critics point to Rosalía’s use of these genres and aesthetics as appropriation, a stark shift away from the flamenco-inspired music that made her famous.\u003c/p>\n\u003cp>‘I don’t know how many times I’ve had to explain to people that Rosalía’s not Latina,” Pulgar says. “It still shocks me. Do you not hear the accent? I don’t know if it’s a lack of [understanding of] geography. I don’t know if it’s the very successful marketing of it all.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.refinery29.com/en-us/2021/07/10583721/is-rosalia-latina\">In an essay for \u003cem>Refinery29\u003c/em>\u003c/a>, Michelle Santiago Cortés cites other celebrities who profited from ethnic and cultural ambiguity, like Enrique Iglesias and Penelope Cruz in the late 1990s.\u003c/p>\n\u003cp>[aside postid='arts_13918498']“We could argue that, in their rise to fame, these individuals took advantage of the work of oppressed people responsible for the Latin Explosion and expanded the audience for Spanish-language music. But that assumes that the music and entertainment industries value Black and brown people, which they do not,” she writes.\u003c/p>\n\u003cp>For a more recent example, take Ariana Grande, who’s been criticized for cultural appropriation like using \u003ca href=\"https://www.newsweek.com/clip-ariana-grandes-changing-accent-confuses-fans-goes-viral-tiktok-1722049\">African American Vernacular English\u003c/a> and sporting \u003ca href=\"https://www.refinery29.com/en-us/2019/01/223146/ariana-grande-fixed-misspelled-japanese-bbq-tattoo\">misinformed kanji tattoos\u003c/a>.\u003c/p>\n\u003cp>Over the years, these corporate attempts at “coolness” have been more \u003ca href=\"https://www.vogue.com/article/the-problem-with-blackfishing-jesy-nelson\">quickly rejected\u003c/a> in the mainstream cultural conversation. Now, on uncurated platforms, misunderstandings of identity have become a trend for anyone to partake in on their social media, without a savvy audience willing to call it out.\u003c/p>\n\u003ch3>The social media trickle-down\u003c/h3>\n\u003cp>The imitation or mockery of identity groups for attention has proved to be a consistent hit with social algorithms. With Latinos, this started \u003cem>within\u003c/em> the community, with videos centering on “hot Cheeto girls” appearing around 2020. The phenomenon painted Latina teenagers in public schools as loud, obnoxious and ghetto.\u003c/p>\n\u003cp>Content like this was an easy win, because creators could appeal to anyone who had witnessed this stereotype. Add in trends like “copy-paste Latinas,” and you set the stage for the promotion of stereotypes and fetishization.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@iluvd3ft0ness/video/7158818343850659118\" data-video-id=\"7158818343850659118\">\n\u003csection>\u003ca title=\"@iluvd3ft0ness\" href=\"https://www.tiktok.com/@iluvd3ft0ness?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@iluvd3ft0ness\u003c/a> they be so pretty bruh😩 \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=\"♬ My humps - MARLEY NYC\" href=\"https://www.tiktok.com/music/My-humps-6765935697976134406?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ My humps – MARLEY NYC\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Since then, such public inside jokes have evolved. On TikTok, where videos and their respective audio tracks can be plucked for use by other users, an increasing number of viral audios have come from reggaeton songs, or are spoken in Spanish, encouraging users to lip sync or dance along.\u003c/p>\n\u003cp>The popularity of this music gave some users a different idea: Why not make content relating to the songs — like relationships, infidelity, and the well-meme’d concept of being “toxico” in relationships — even if they’re not Latino?\u003c/p>\n\u003cp>Users were especially upset with popular creator Chiara King. Though fluent in Spanish, King is from the U.K. — and made grand statements about Latinas in relationships with hashtags like “latin trend” and “toxica.”\u003c/p>\n\u003cp>In a now-deleted video, King is doing her makeup with the caption “A Latina’s mind 24/7,” while lip syncing an audio about her boyfriend maybe cheating. In the hashtags she wrote, “I’m not Latina but I relate.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@chiaraking/video/7125131196299808006\" data-video-id=\"7125131196299808006\">\n\u003csection>\u003ca title=\"@chiaraking\" href=\"https://www.tiktok.com/@chiaraking?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@chiaraking\u003c/a> The better translated version \u003ca title=\"latintrend\" href=\"https://www.tiktok.com/tag/latintrend?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#latintrend\u003c/a> \u003ca title=\"toxica\" href=\"https://www.tiktok.com/tag/toxica?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#toxica\u003c/a> \u003ca title=\"♬ Con Una Prima Déjame Revisarte El Celular 2 - 👸🏽 Ingrid Laien 💎\" href=\"https://www.tiktok.com/music/Con-Una-Prima-D%C3%A9jame-Revisarte-El-Celular-2-7106867367401048837?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Con Una Prima Déjame Revisarte El Celular 2 – 👸🏽 Ingrid Laien 💎\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>For graduate student and content creator Marlene Ramirez, King’s appropriation felt familiar in a very unwelcome way.\u003c/p>\n\u003cp>“[It was upsetting] to see her, as a white woman, take on these tropes and profit off of them,” she says.“She was presenting Latinas in a very toxic way. I think that was definitely very triggering for me as someone who has had to conform to certain standards of whiteness, especially in the academic and professional space,” Ramirez knows these stereotypes well, but has found them notably more pointed lately.\u003c/p>\n\u003cp>“People want to look like us, people want to copy our culture, and they reduce us to this ‘spicy’ [trope], like we’re emotionally dysregulated,” she adds.\u003c/p>\n\u003cp>[aside postid='arts_13912477']These trends impact how she’s perceived offline, too, she says.\u003c/p>\n\u003cp>“We’re very passionate, but there’s a historical context to it I feel that’s missing. I noticed it in the way that I’ve been perceived these last two years. I feel like I’ve been much more fetishized.”\u003c/p>\n\u003cp>For any cultural group, being reduced to a narrow set of misinformed characteristics is an unwelcome shift from being ignored in the cultural zeitgeist.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for content creators vying for views before their wave of relevance has passed, identity can be merely a costume.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=How+Latin+identity+became+fodder+for+content&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silky, long, straight hair and lightly tanned skin. Thin, upturned noses and puffy, pouty lips.\u003c/p>\n\u003cp>That’s what a typical Latina looks like, according to the viral TikTok trend “\u003ca href=\"https://www.refinery29.com/en-us/2022/11/11169730/copy-paste-latina-tiktok-trend\">copy-paste Latinas\u003c/a>.” This Eurocentric stereotype ignores the diversity of a group composed of every race, body type and hair texture that exists. The trend erupted in popularity in November, with TikTokers volunteering themselves as models for this combination of exoticized facial features and heavy, glamorous makeup — a callback to the “spicy Latina” cliche.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As one of the fastest-growing demographics in the U.S., Latinos are finally solidifying their presence in popular culture. This newfound attention has its downsides: Creators are using tired tropes to ride the wave of relevance — and some are even misrepresenting themselves as Latino for clout.\u003c/p>\n\u003cp>And although Latinidad is a cultural identity that’s uniquely difficult to define, it’s being widely appropriated as fodder for content creation. Whether it’s the popularization of aesthetics like “\u003ca href=\"https://www.tiktok.com/@amsiedad/video/7117006314991029509?is_copy_url=1&is_from_webapp=v1&q=little%20mexican%20girl%20core&t=1670019670733\">little Mexican girl-core\u003c/a>” or Bad Bunny declaring “\u003ca href=\"https://www.nytimes.com/2022/05/06/arts/music/bad-bunny-un-verano-sin-ti.html\">now everyone wants to be Latino\u003c/a>,” there’s plenty of evidence the issue is pervasive.\u003c/p>\n\u003cp>Such co-opting can start with influencers and celebrities adopting styles associated with Latinidad, like large hoop earrings, or clothes inspired by the Cholo aesthetic derived from Los Angeles Chicano culture. It’s a gateway to adopting stereotypical mannerisms, ways of speaking, and attitudes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While this isn’t as brazen as cultural mimicry like \u003ca href=\"https://www.theguardian.com/fashion/2020/apr/14/blackfishing-black-is-cool-unless-youre-actually-black\">Blackfishing\u003c/a> or \u003ca href=\"https://www.huffpost.com/entry/asianfishing_l_6283c26ee4b0c2dce6557958\">Asianfishing\u003c/a>, Latino-fishing — pretending to be Latino — warps what Latin culture is and who gets to create it.\u003c/p>\n\u003ch3>Latinx identity in mainstream music\u003c/h3>\n\u003cp>If you feel you’re hearing more music in Spanish than ever before, you are. “Latin music,” a category typically associated with genres like reggaeton, dembow and bachata, has seen a surge in popularity since 2015. Revenue and streaming numbers have been climbing steadily, thanks to the commercial success of artists like Bad Bunny, J Balvin, Rauw Alejandro, Maluma and Karol G.\u003c/p>\n\u003cp>Categorizing so many musical styles under one term fails to recognize their variety, individuality and deep historical origins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“‘Latin music’ is a term that I really hate. I think that it flattens everything that we are about and allows for Latino-fishing to happen because the umbrella term of Latin music encompasses reggaeton and dembow, and it’s mostly misconstrued as [only] that,” says Venezuelan-American poet, writer and music journalist E.R. Pulgar.\u003c/p>\n\u003cp>When commercial entities market “Latin music,” they overlook genres that aren’t lucrative or well-known. Selecting a handful of sounds to represent an entire ethnicity gives an inaccurate picture of who creates “Latin music,” and who listens to it.\u003c/p>\n\u003cp>“When you take away all of that specificity and take away all of that history, you end up with a European wearing gigantic hoops on the cover of the ‘Viva Latino!’ Spotify playlist. And no one questions it,” says Pulgar.\u003c/p>\n\u003cp>They’re referring to Rosalía, a key name in any discussion of Latino-fishing. The Spanish pop star and producer has gained global success from the genre-mashing music she sings in her native tongue, blending elements of bachata, reggaeton, champeta, neoperreo and other Latin genres.\u003c/p>\n\u003cp>The end result is the widespread misconception that Rosalía is Latina. It’s a narrative she’s had plenty of assistance in creating, including her repeated nominations and wins at the Latin Grammys, and her inclusion in Latin music roundups and playlists on streaming services.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Critics point to Rosalía’s use of these genres and aesthetics as appropriation, a stark shift away from the flamenco-inspired music that made her famous.\u003c/p>\n\u003cp>‘I don’t know how many times I’ve had to explain to people that Rosalía’s not Latina,” Pulgar says. “It still shocks me. Do you not hear the accent? I don’t know if it’s a lack of [understanding of] geography. I don’t know if it’s the very successful marketing of it all.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.refinery29.com/en-us/2021/07/10583721/is-rosalia-latina\">In an essay for \u003cem>Refinery29\u003c/em>\u003c/a>, Michelle Santiago Cortés cites other celebrities who profited from ethnic and cultural ambiguity, like Enrique Iglesias and Penelope Cruz in the late 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We could argue that, in their rise to fame, these individuals took advantage of the work of oppressed people responsible for the Latin Explosion and expanded the audience for Spanish-language music. But that assumes that the music and entertainment industries value Black and brown people, which they do not,” she writes.\u003c/p>\n\u003cp>For a more recent example, take Ariana Grande, who’s been criticized for cultural appropriation like using \u003ca href=\"https://www.newsweek.com/clip-ariana-grandes-changing-accent-confuses-fans-goes-viral-tiktok-1722049\">African American Vernacular English\u003c/a> and sporting \u003ca href=\"https://www.refinery29.com/en-us/2019/01/223146/ariana-grande-fixed-misspelled-japanese-bbq-tattoo\">misinformed kanji tattoos\u003c/a>.\u003c/p>\n\u003cp>Over the years, these corporate attempts at “coolness” have been more \u003ca href=\"https://www.vogue.com/article/the-problem-with-blackfishing-jesy-nelson\">quickly rejected\u003c/a> in the mainstream cultural conversation. Now, on uncurated platforms, misunderstandings of identity have become a trend for anyone to partake in on their social media, without a savvy audience willing to call it out.\u003c/p>\n\u003ch3>The social media trickle-down\u003c/h3>\n\u003cp>The imitation or mockery of identity groups for attention has proved to be a consistent hit with social algorithms. With Latinos, this started \u003cem>within\u003c/em> the community, with videos centering on “hot Cheeto girls” appearing around 2020. The phenomenon painted Latina teenagers in public schools as loud, obnoxious and ghetto.\u003c/p>\n\u003cp>Content like this was an easy win, because creators could appeal to anyone who had witnessed this stereotype. Add in trends like “copy-paste Latinas,” and you set the stage for the promotion of stereotypes and fetishization.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@iluvd3ft0ness/video/7158818343850659118\" data-video-id=\"7158818343850659118\">\n\u003csection>\u003ca title=\"@iluvd3ft0ness\" href=\"https://www.tiktok.com/@iluvd3ft0ness?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@iluvd3ft0ness\u003c/a> they be so pretty bruh😩 \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=\"♬ My humps - MARLEY NYC\" href=\"https://www.tiktok.com/music/My-humps-6765935697976134406?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ My humps – MARLEY NYC\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>Since then, such public inside jokes have evolved. On TikTok, where videos and their respective audio tracks can be plucked for use by other users, an increasing number of viral audios have come from reggaeton songs, or are spoken in Spanish, encouraging users to lip sync or dance along.\u003c/p>\n\u003cp>The popularity of this music gave some users a different idea: Why not make content relating to the songs — like relationships, infidelity, and the well-meme’d concept of being “toxico” in relationships — even if they’re not Latino?\u003c/p>\n\u003cp>Users were especially upset with popular creator Chiara King. Though fluent in Spanish, King is from the U.K. — and made grand statements about Latinas in relationships with hashtags like “latin trend” and “toxica.”\u003c/p>\n\u003cp>In a now-deleted video, King is doing her makeup with the caption “A Latina’s mind 24/7,” while lip syncing an audio about her boyfriend maybe cheating. In the hashtags she wrote, “I’m not Latina but I relate.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@chiaraking/video/7125131196299808006\" data-video-id=\"7125131196299808006\">\n\u003csection>\u003ca title=\"@chiaraking\" href=\"https://www.tiktok.com/@chiaraking?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@chiaraking\u003c/a> The better translated version \u003ca title=\"latintrend\" href=\"https://www.tiktok.com/tag/latintrend?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#latintrend\u003c/a> \u003ca title=\"toxica\" href=\"https://www.tiktok.com/tag/toxica?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#toxica\u003c/a> \u003ca title=\"♬ Con Una Prima Déjame Revisarte El Celular 2 - 👸🏽 Ingrid Laien 💎\" href=\"https://www.tiktok.com/music/Con-Una-Prima-D%C3%A9jame-Revisarte-El-Celular-2-7106867367401048837?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ Con Una Prima Déjame Revisarte El Celular 2 – 👸🏽 Ingrid Laien 💎\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>For graduate student and content creator Marlene Ramirez, King’s appropriation felt familiar in a very unwelcome way.\u003c/p>\n\u003cp>“[It was upsetting] to see her, as a white woman, take on these tropes and profit off of them,” she says.“She was presenting Latinas in a very toxic way. I think that was definitely very triggering for me as someone who has had to conform to certain standards of whiteness, especially in the academic and professional space,” Ramirez knows these stereotypes well, but has found them notably more pointed lately.\u003c/p>\n\u003cp>“People want to look like us, people want to copy our culture, and they reduce us to this ‘spicy’ [trope], like we’re emotionally dysregulated,” she adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These trends impact how she’s perceived offline, too, she says.\u003c/p>\n\u003cp>“We’re very passionate, but there’s a historical context to it I feel that’s missing. I noticed it in the way that I’ve been perceived these last two years. I feel like I’ve been much more fetishized.”\u003c/p>\n\u003cp>For any cultural group, being reduced to a narrow set of misinformed characteristics is an unwelcome shift from being ignored in the cultural zeitgeist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for content creators vying for views before their wave of relevance has passed, identity can be merely a costume.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=How+Latin+identity+became+fodder+for+content&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Too Short Way’ Unveiled in Star-Studded Event in Oakland",
"headTitle": "‘Too Short Way’ Unveiled in Star-Studded Event in Oakland | KQED",
"content": "\u003cp>Saturday’s unveiling of “Too $hort Way” brought together celebrities, community leaders, a marching band and Too $hort himself. But the real star of the event was the city of Oakland. \u003c/p>\n\u003cp>At 3 p.m. inside Fremont High School’s gymnasium, as the Pittsburg High School marching band \u003ca href=\"https://www.instagram.com/reel/CmAWJAljzyQ/\">performed a lively version of “Life Is Too Short,”\u003c/a> the crowd erupted in cheers as hip hop artists Sway Calloway, Ice Cube, Mistah F.A.B. and Too $hort stepped to the stage.\u003c/p>\n\u003cfigure id=\"attachment_13922619\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg\" alt=\"A marching band, dressed in black Too Short shirts, fills a gymnasium with a large Tiger mural in the background\" width=\"800\" height=\"488\" class=\"size-medium wp-image-13922619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1536x937.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand.jpg 1816w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pittsburg High School marching band performs a medley of Too $hort hits to commemorate the unveiling of ‘Too $hort Way’ at Fremont High School on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One by one, each paid tribute to Too $hort. Sway remembered being “a kid” when he first saw Too $hort, in the back of a bus, playing his own music from a boombox. He said he was startled — he hadn’t yet witnessed someone producing and selling their own songs like $hort did.\u003c/p>\n\u003cp>When Ice Cube first met Too $hort in 1988, they were both opening acts for bigger artists, not headliners. (“Yes! I was there!” a crowd goer shouted, laughing.)\u003c/p>\n\u003cp>“He’s always giving. He’s always trying to show you how to do something, telling you about something, giving you some game,” Ice Cube continued. “So, we gonna love Too $hort. Give respect to Too $hort because he put Oakland on the map.” \u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists were joined by Oakland mayor Libby Schaaf and councilmember Noel Gallo, who both cited the rapper’s legacy and cultural importance while presenting their official proclamation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, Too $hort stepped to the microphone.\u003c/p>\n\u003cp>“First and foremost,” he began, smiling and nonchalant, “y’all are celebrating Too $hort, but I’m celebrating Oakland.” \u003c/p>\n\u003cfigure id=\"attachment_13922621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg\" alt=\"A man in an A's starter jacket addresses a crowd, with a green background wall\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort addresses the crowd. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>$hort talked about moving to East Oakland as a young teen, and how the city itself nourished his dreams of becoming a rapper. He’d often walk around the streets, he said, radio in hand, listening to East Coast MCs lyrically explore life in New York. He decided he wanted to do the same — but for the new home he’d grown to love.\u003c/p>\n\u003cp>“This [street renaming] is needed. Not for me to get a pat on my back, not for me to get good things said about me,” said $hort. “This is about walking down the street, dreaming. That long walk down High Street, I was dreaming.” \u003c/p>\n\u003cp>Afterward, the crowd — including \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Beat\u003c/a>‘s Chuck Johnson, \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" rel=\"noopener noreferrer\" target=\"_blank\">EMPIRE\u003c/a>‘s Ghazi Shami, and neighborhood legends like \u003ca href=\"https://www.instagram.com/p/CmAfAMNPltT/\" rel=\"noopener noreferrer\" target=\"_blank\">Frank the Bank\u003c/a> — followed the rapper outside, flocking around the new street sign. Freshly installed, “Too $hort Way” stood against an overcast sky, wet from the constant rain.\u003c/p>\n\u003cfigure id=\"attachment_13922614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg\" alt=\"Umbrellas are hoisted below a street sign reading 'Too $hort Way'\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13922614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1.jpg 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People gather at the unveiling of Too $hort Way on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another huddle formed around Too $hort as he looked up toward the sign, dressed in a starter jacket with the city’s name on its back. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This moment is not mine,” he reiterated. “This moment is Oakland, California.” \u003c/p>\n\n",
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"excerpt": "Short Dog was back in the house Saturday at Fremont High, with Ice Cube, Libby Schaaf and others.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday’s unveiling of “Too $hort Way” brought together celebrities, community leaders, a marching band and Too $hort himself. But the real star of the event was the city of Oakland. \u003c/p>\n\u003cp>At 3 p.m. inside Fremont High School’s gymnasium, as the Pittsburg High School marching band \u003ca href=\"https://www.instagram.com/reel/CmAWJAljzyQ/\">performed a lively version of “Life Is Too Short,”\u003c/a> the crowd erupted in cheers as hip hop artists Sway Calloway, Ice Cube, Mistah F.A.B. and Too $hort stepped to the stage.\u003c/p>\n\u003cfigure id=\"attachment_13922619\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg\" alt=\"A marching band, dressed in black Too Short shirts, fills a gymnasium with a large Tiger mural in the background\" width=\"800\" height=\"488\" class=\"size-medium wp-image-13922619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand-1536x937.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.MarchingBand.jpg 1816w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pittsburg High School marching band performs a medley of Too $hort hits to commemorate the unveiling of ‘Too $hort Way’ at Fremont High School on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One by one, each paid tribute to Too $hort. Sway remembered being “a kid” when he first saw Too $hort, in the back of a bus, playing his own music from a boombox. He said he was startled — he hadn’t yet witnessed someone producing and selling their own songs like $hort did.\u003c/p>\n\u003cp>When Ice Cube first met Too $hort in 1988, they were both opening acts for bigger artists, not headliners. (“Yes! I was there!” a crowd goer shouted, laughing.)\u003c/p>\n\u003cp>“He’s always giving. He’s always trying to show you how to do something, telling you about something, giving you some game,” Ice Cube continued. “So, we gonna love Too $hort. Give respect to Too $hort because he put Oakland on the map.” \u003c/p>\n\u003cfigure id=\"attachment_13922618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg\" alt=\"Two men dressed in black stand on stage, smiling\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/IceCube.MistahFAB.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ice Cube and Mistah FAB on stage at Fremont High School to commemorate the unveiling of ‘Too $hort Way’ on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artists were joined by Oakland mayor Libby Schaaf and councilmember Noel Gallo, who both cited the rapper’s legacy and cultural importance while presenting their official proclamation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, Too $hort stepped to the microphone.\u003c/p>\n\u003cp>“First and foremost,” he began, smiling and nonchalant, “y’all are celebrating Too $hort, but I’m celebrating Oakland.” \u003c/p>\n\u003cfigure id=\"attachment_13922621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg\" alt=\"A man in an A's starter jacket addresses a crowd, with a green background wall\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13922621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/TooShort.Speech.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Too $hort addresses the crowd. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>$hort talked about moving to East Oakland as a young teen, and how the city itself nourished his dreams of becoming a rapper. He’d often walk around the streets, he said, radio in hand, listening to East Coast MCs lyrically explore life in New York. He decided he wanted to do the same — but for the new home he’d grown to love.\u003c/p>\n\u003cp>“This [street renaming] is needed. Not for me to get a pat on my back, not for me to get good things said about me,” said $hort. “This is about walking down the street, dreaming. That long walk down High Street, I was dreaming.” \u003c/p>\n\u003cp>Afterward, the crowd — including \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" rel=\"noopener noreferrer\" target=\"_blank\">Soul Beat\u003c/a>‘s Chuck Johnson, \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" rel=\"noopener noreferrer\" target=\"_blank\">EMPIRE\u003c/a>‘s Ghazi Shami, and neighborhood legends like \u003ca href=\"https://www.instagram.com/p/CmAfAMNPltT/\" rel=\"noopener noreferrer\" target=\"_blank\">Frank the Bank\u003c/a> — followed the rapper outside, flocking around the new street sign. Freshly installed, “Too $hort Way” stood against an overcast sky, wet from the constant rain.\u003c/p>\n\u003cfigure id=\"attachment_13922614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg\" alt=\"Umbrellas are hoisted below a street sign reading 'Too $hort Way'\" width=\"800\" height=\"549\" class=\"size-medium wp-image-13922614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/too-short-way-edited-1.jpg 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People gather at the unveiling of Too $hort Way on Dec. 10, 2022. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another huddle formed around Too $hort as he looked up toward the sign, dressed in a starter jacket with the city’s name on its back. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This moment is not mine,” he reiterated. “This moment is Oakland, California.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been a big few weeks for Too $hort. The prolific rapper — real name Todd Anthony Shaw — helped put West Coast hip-hop on the map in the 1980s with his slow, funky and braggadocious raps about life on the Oakland streets. And now he’s getting a street of his own: On Dec. 6, Oakland City Council members voted in favor of \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/View-Legislation.pdf\">a resolution [PDF]\u003c/a> to rename Foothill Blvd. between High Street and 47th Avenue “Too $hort Way.” The stretch of road sits alongside Fremont High School, which the rapper attended as a teenager while beginning to produce music.\u003c/p>\n\u003cp>The resolution cites the far-reaching impact of Too $hort’s nearly 40-year career, which includes six platinum albums, numerous collaborations with fellow hip-hop legends and a continuing dedication to his craft. Importantly, Too $hort doesn’t shy away from his roots — he makes it loud and clear where he’s from, often name-checking and embodying the spirit of Oakland in his lyrics.\u003c/p>\n\u003cp>“His career blazed a path that opened the door for Bay Area artists to pursue their dreams,” reads the resolution, which was introduced by Oakland mayor Libby Schaaf and councilmember Noel Gallo. “It’s important that Oakland give him his flowers now, while he is here and can appreciate the ‘thank you’ from his hometown.” (This love affair between Too $hort and city officials, Bay Area hip-hop heads will note, would have been all but unimaginable when the MC was coming up 30 years ago, as local government responded to a rise in violence by cracking down on rap shows.)\u003c/p>\n\u003cp>The hip-hop veteran also appears to be headed for the big screen: Too $hort is set to executive-produce the upcoming film \u003cem>Freaky Tales\u003c/em>, named after his 1987 song. Set in that year, the film will feature stories inspired by director Ryan Fleck’s upbringing in the East Bay. The project, which has actors Pedro Pascal and Ben Mendelsohn attached, \u003ca href=\"https://twitter.com/jemmawei/status/1592971050899292162\">gained attention on Twitter\u003c/a> in mid-November, when residents began to notice crew filming in downtown Oakland.\u003c/p>\n\u003cp>Dec. 9 will see the release of the new record \u003cem>Snoop, Cube, 40, $hort\u003c/em> from Too $hort’s West Coast rap supergroup Mount Westmore. And on Dec. 10, fellow Oakland rapper and collaborator Mistah F.A.B. hosts a celebratory night for Too $hort at his club Dezi’s, playing Too $hort’s hits all night. “Let’s celebrate the icon and living legend,” said Mistah F.A.B. in a \u003ca href=\"https://www.instagram.com/p/ClzfILYPpZ4/?hl=en\">recent Instagram post\u003c/a>. Tickets start at $30; \u003ca href=\"https://clubdezis.square.site/\">more info here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a big few weeks for Too $hort. The prolific rapper — real name Todd Anthony Shaw — helped put West Coast hip-hop on the map in the 1980s with his slow, funky and braggadocious raps about life on the Oakland streets. And now he’s getting a street of his own: On Dec. 6, Oakland City Council members voted in favor of \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/View-Legislation.pdf\">a resolution [PDF]\u003c/a> to rename Foothill Blvd. between High Street and 47th Avenue “Too $hort Way.” The stretch of road sits alongside Fremont High School, which the rapper attended as a teenager while beginning to produce music.\u003c/p>\n\u003cp>The resolution cites the far-reaching impact of Too $hort’s nearly 40-year career, which includes six platinum albums, numerous collaborations with fellow hip-hop legends and a continuing dedication to his craft. Importantly, Too $hort doesn’t shy away from his roots — he makes it loud and clear where he’s from, often name-checking and embodying the spirit of Oakland in his lyrics.\u003c/p>\n\u003cp>“His career blazed a path that opened the door for Bay Area artists to pursue their dreams,” reads the resolution, which was introduced by Oakland mayor Libby Schaaf and councilmember Noel Gallo. “It’s important that Oakland give him his flowers now, while he is here and can appreciate the ‘thank you’ from his hometown.” (This love affair between Too $hort and city officials, Bay Area hip-hop heads will note, would have been all but unimaginable when the MC was coming up 30 years ago, as local government responded to a rise in violence by cracking down on rap shows.)\u003c/p>\n\u003cp>The hip-hop veteran also appears to be headed for the big screen: Too $hort is set to executive-produce the upcoming film \u003cem>Freaky Tales\u003c/em>, named after his 1987 song. Set in that year, the film will feature stories inspired by director Ryan Fleck’s upbringing in the East Bay. The project, which has actors Pedro Pascal and Ben Mendelsohn attached, \u003ca href=\"https://twitter.com/jemmawei/status/1592971050899292162\">gained attention on Twitter\u003c/a> in mid-November, when residents began to notice crew filming in downtown Oakland.\u003c/p>\n\u003cp>Dec. 9 will see the release of the new record \u003cem>Snoop, Cube, 40, $hort\u003c/em> from Too $hort’s West Coast rap supergroup Mount Westmore. And on Dec. 10, fellow Oakland rapper and collaborator Mistah F.A.B. hosts a celebratory night for Too $hort at his club Dezi’s, playing Too $hort’s hits all night. “Let’s celebrate the icon and living legend,” said Mistah F.A.B. in a \u003ca href=\"https://www.instagram.com/p/ClzfILYPpZ4/?hl=en\">recent Instagram post\u003c/a>. Tickets start at $30; \u003ca href=\"https://clubdezis.square.site/\">more info here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The 20 Best Bay Area Albums of 2022",
"headTitle": "The 20 Best Bay Area Albums of 2022 | KQED",
"content": "\u003cp>Though the music industry has been \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">incredibly challenging for independent artists\u003c/a> since the start of the pandemic, the Bay Area brought it in 2022. Throughout the year, veteran artists and newcomers alike set new bars for ingenuity and excellence. They invited us to have fun and get inspired, but they also offered opportunities for catharsis, for processing global events and personal challenges.\u003c/p>\n\u003cp>Without further ado, these are KQED Arts & Culture’s favorite albums of the year, in no particular order. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2KvfsMy0IQ2XRd5Rh7Ur2Q?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Zyah Belle, \u003cem>Yam Grier\u003c/em> (Guin Records)\u003c/h2>\n\u003cp>Zyah Belle has range. On her most confident album yet, the Vallejo-raised singer delves into the many emotional shades of love, using them as a catalyst for growth and self-mastery. On the opening track, “Ready Or Not,” Belle arrives, heart bursting, approaching a new love as if it were a magical gateway to another realm. Her silky mezzo-soprano voice, honed in church choir, makes her rapture contagious. But passions cool on “Holding On,” a low-key disco track with lyrics about not wanting to accept that a relationship is past its expiration date.\u003c/p>\n\u003cp>We see Belle embrace her sexuality on “Back to Back,” a smoldering duet with Jordan Hawkins, where the singers yearn for a hookup too good not to pursue. And with standout track “Cold Blooded,” Belle shifts beyond pretty and embodies a darker persona — one who learned the game from Too $hort, who gets name-dropped in the track. The minimalist guitar strum of “Healing” offers a tender moment of reprieve, offering affirmations for anyone recovering from a setback. A solid companion piece to grown-woman R&B albums like Jazmine Sullivan’s \u003cem>Heaux Tales\u003c/em> and Ari Lennox’s \u003cem>Shea Butter Baby\u003c/em>, Belle’s \u003cem>Yam Grier\u003c/em> is emotionally honest, and full of sumptuous textures and smart storytelling. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5E5phS3ZeUFwzrDMqqQiwx?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mistah F.A.B., \u003cem>Black Designer\u003c/em> (Faeva Afta)\u003c/h2>\n\u003cp>It doesn’t take long for Oakland rapper Mistah F.A.B. to articulate why \u003cem>Black Designer\u003c/em> is being called his “mature” album: just 22 seconds into its eponymous kickoff track, he raps, “Busy as hell but always answer when my daughter calls / Present when my son took his first steps.” Other song titles reference Black cultural icons — among them Duke Ellington, Dorothy Dandridge, Mansa Musa, and W.E.B. Du Bois. “George Washington Carver” could have easily been titled “Flower Shop” — it’s more about props than crops — but artistic license appears to be a by-product of F.A.B. owning his own masters.\u003c/p>\n\u003cp>F.A.B. has added adulting to a skillset that already included evocative imagery and nimble, punchline-laden flows. High-flying tales of lavish international trips fluidly contrast with socially conscious and inspirational messages: “I grew up poor, who ashamed of that? Not me / It’s just evidence that can’t nothing in life stop me,” he raps. \u003cem>Black Designer\u003c/em>’s 22 tracks, spanning over 80 minutes, run lyrical circles around 95% of rappers alive. Though rooted in boastfulness, the use of patterns, alliteration, slang and metaphors overflow with creative mojo and a newfound sense of purpose. The album eschews trap or drill beats, instead offering up lush beds of jazzy, soulful loops more consistent with hip-hop’s history than its present state. The result is one of the best Bay Area hip-hop albums in recent memory, one that knows the world is bigger than the block. \u003cem>—\u003c/em>\u003cem> Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DTVVsFW3Jhi4Jw8flTAGR?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rexx Life Raj, \u003cem>The Blue Hour\u003c/em> (Rexx Life/EMPIRE)\u003c/h2>\n\u003cp>After the recent passing of his mother and father, Berkeley’s Rexx Life Raj took time to pour his pain into a work of art, \u003cem>The Blue Hour\u003c/em>.\u003c/p>\n\u003cp>The 12-track album, named after the time of the day just before dawn, takes listeners through some of the darkest moments in Raj’s life. And still, between intimate details of grief, he finds space to slide in slices of levity, clever lyrics and a player lifestyle.\u003c/p>\n\u003cp>“Beauty in The Madness,” featuring Wale and Fireboy DML, is a club-ready track for those who like to dance. “Scared Money” is a raw display of real rapper bars over a beat that’s an audible punch in the face. “Jerry Curl,” featuring Larry June, is the soundtrack to smoke and ride to.\u003c/p>\n\u003cp>But it’s the song “Save Yourself” that’s arguably the most important song to come out of the region this year. Raj opens his first verse by rapping, “When I was down bad / Looked in the mirror and realized I was all that I had / Had fam and the gang is the landing pad / But if I don’t steer the plane, then it’ll still crash.”\u003c/p>\n\u003cp>He delivers a Sunday morning sermon about self-reliance while riding a bass-heavy beat. It taps directly into the cerebral cortex and pushes listeners to enter a transcendent state where pain and love merge in this thing we know as music.\u003c/p>\n\u003cp>It’s art at its highest form.\u003c/p>\n\u003cp>To mourn in public is to show the world your full humanity. To create art and invite others to share in the grieving process pushes all of us to be more fully human. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4C87UAmhJ3nhATyp9nCI4i?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fantastic Negrito, \u003cem>White Jesus Black Problems\u003c/em> (Storefront Records)\u003c/h2>\n\u003cp>Liberated from the show-business pressures he encountered in the 1990s, when he was a young R&B singer with a major-label deal, Oakland’s Fantastic Negrito has earned a national following in recent years. The inaugural winner of NPR’s Tiny Desk Contest, and a three-time Grammy winner for Best Contemporary Blues Album, he’s emphasized honesty and a pursuit of self that honors his roots.\u003c/p>\n\u003cp>On Fantastic Negrito’s latest album, \u003cem>White Jesus Black Problems\u003c/em>, the angelically psychedelic chorus of opening track “Venomous Dogma” enraptures you and doesn’t let go. Another track, “You Don’t Belong Here,” is a sound-rich window into the realities of oppression and otherness.\u003c/p>\n\u003cp>Fantastic Negrito released \u003cem>White Jesus Black Problems\u003c/em> with a \u003ca href=\"https://www.youtube.com/watch?v=BGOBdCscvgo\" target=\"_blank\" rel=\"noopener noreferrer\">short film of the same title\u003c/a>. As he narrates in the introduction, it’s “a love story” — one that he lays bare on “Virginia Soil,” the last track on the album. It situates the listener in Oakland and Virginia at the same time, and honors Fantastic Negrito’s 18th-century ancestors. His white Scottish grandmother, Gallamore, and his enslaved African American grandfather — whom Negrito calls Courage — lived in defiance of the racist social order of their time. “Freedom will come,” Fantastic Negrito sings triumphantly on the track. As listeners, we’re better for his prophetic nudges towards liberty. \u003cem>— Camilo Garzón\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3iIQrRl8NG7AgSJlStJdQw?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>mxmtoon, \u003cem>rising\u003c/em> (AWAL Recordings America)\u003c/h2>\n\u003cp>When Maia — known as mxmtoon — was 17, she wrote “prom dress,” a sad yet upbeat anthem for lost teenagers overwhelmed by doubt and confusion. Now, four years later, the Oakland-born singer-songwriter reflects on how life has changed and her evolution in her latest album, \u003cem>rising\u003c/em>.\u003c/p>\n\u003cp>Like much of mxmtoon’s discography, \u003cem>rising\u003c/em> features tender, heartfelt lyrics and dreamy pop instrumentals delivered with high, soft vocals. Many songs on the album tackle aging, nostalgia, the pressures of societal expectations and what it means to look forward as you let go of your younger self. In “victim of nostalgia,” a track fit for a coming-of-age film, mxmtoon sings: “It’s the panic of growing up / It’s the fear of fallin’ down,” illustrating her unsteadiness as she enters her early 20s.\u003c/p>\n\u003cp>But this doubt is balanced by songs like “kaleidoscope,” where she accepts that the chaos the unknown is where she can truly grow. “Count all of my colors, but you’ll never know,” she sings, boldly accepting that this new era she enters is one of many to come. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2855467910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Toro Y Moi, \u003cem>Mahal\u003c/em> (Dead Oceans)\u003c/h2>\n\u003cp>Every single one of my teenage years was spent in the 1990s. While a lot of people look back on their formative years and cringe, I never have. I loved everything about that decade — the fashion, the music, the creative communities, the attitude. The current ’90s revival then, has been filling me with joy all year — and Toro Y Moi’s chillwave has proven to be the perfect soundtrack.\u003c/p>\n\u003cp>On \u003cem>Mahal\u003c/em>, the Oakland artist and producer (real name: Chaz Bear) mashes a plethora of ’90s trends seamlessly into one expansive, alluring mirage. Combining dreamy soundscapes, fuzzy indie-rock guitars, hip-hop beats (that occasionally nod in the direction of drum and bass) and the same ’70s funk sensibilities we embraced in the ’90s, Toro Y Moi is so retro, he’s entirely of the moment.\u003c/p>\n\u003cp>To me, \u003cem>Mahal\u003c/em> sounds like seven people smoking weed in a tiny dorm room, backpacks and skateboards piled up in the corner. It sounds like making out under the stars on the walk home. It sounds like dancing with your friends in a sweaty basement. It sounds like living, and it’s beautiful. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3I7zgqesHxrk9YQ5ZrHz3v?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Tales of the Town\u003c/em> (Tales of the Town)\u003c/h2>\n\u003cp>It’s been a tremendously exciting year for Bay Area rap and R&B, and \u003cem>Tales of the Town\u003c/em> is the natural culmination. With a who’s-who of the region’s rich talent (including Guap, ShooterGang Kony, G-Eazy, P-Lo, Jane Handcock, Koran Streets, Pallaví, Shy’An G, Ian Kelly, ALLBLACK, Kevin Allen and others), the compilation isn’t a sampler so much as a statement of purpose. Concurrent with the \u003ca href=\"https://www.kqed.org/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">podcast of the same name\u003c/a> (presented by activist organization People’s Programs), \u003cem>Tales of the Town\u003c/em> addresses Oakland history, sports, police brutality, gentrification and the housing crisis — all while proving the case for Oakland as a center of Black Excellence.\u003c/p>\n\u003cp>The multigenerational result is verses from veterans like J Stalin, who addresses Oscar Grant (“Three years for a Black life / And they want you to praise Christ?”), and newcomers like LaRussell, who takes on police and environmental racism (“How they build a hood and a power plant adjacent?”). With spoken-word segues from Town figures like Tupac Shakur and an overarching trajectory toward making Oakland a more equitable city, \u003cem>Tales of the Town\u003c/em> is 2022’s sharpest musical snapshot of the Bay Area right now. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=370607175/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Samora Pinderhughes, \u003cem>GRIEF\u003c/em> (Stretch Music/Ropeadope)\u003c/h2>\n\u003cp>The Bay Area got a deep look into the research that inspired Berkeley-reared pianist, songwriter and vocalist Samora Pinderhughes’ album \u003cem>GRIEF\u003c/em> last spring with \u003cem>The Healing Project\u003c/em>, a multimedia installation at Yerba Buena Center for the Arts produced by Anna Deavere Smith, Glenn Ligon and Vijay Iyer. A cool-toned but scorching \u003cem>cri de coeur\u003c/em> revealing the costs of mass incarceration, \u003cem>GRIEF\u003c/em> peels back the mounting losses one devastating track at a time.\u003c/p>\n\u003cp>Like on the title song, with its sinuous, whispered refrain of “death is much worse for the ones left behind,” the project’s inviting melodic hooks and luscious production generate crackling tension with the abject content. Spiritually charged but utterly grounded, the songs don’t attempt to put pieces back together as much as honor the wounds, hinting at avenues toward healing. Joined by a superlative ensemble featuring drummer Marcus Gilmore, electric bassist Boom Bishop, double bassist Clovis Nicolas, alto saxophonist Immanuel Wilkins, tenor saxophonist Lucas Pino and vocalists Nio Levon and Jehbreal Jackson — as well Samora’s younger sister Elena Pinderhughes on flute — \u003cem>GRIEF\u003c/em> marks Pinderhughes’ transformation from promising jazz pianist to visionary songwriter and producer with a rarified skillset and prophetic agenda. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1475871226&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hokage Simon, \u003cem>Neon Noir\u003c/em> (self-released)\u003c/h2>\n\u003cp>Vallejo artist Hokage Simon has had an eventful year. He’s been handling his business, playing keys for rising artists like LaRussell and Elujay, and even walking in the 2022 TOMBOGO fashion show. He dropped his seven-song album \u003cem>Neon Noir\u003c/em> this summer, following up on the joint album he released with LaRussell, \u003cem>For What It’s Worth\u003c/em>, in March. Simon wrote \u003cem>Neon Noir\u003c/em> while battling cancer, and he released it on the one-year anniversary of his recovery. On the summery song “Enough,” featuring Tomas Jordan, Simon fuses an R&B two-step with a funky undertone and light vocals. This album spotlights Simon’s expansive synth playing, traversing R&B, psychedelic pop, jazz and boogie. On another standout song, “Gullible,” Simon sings about being sprung over someone, taking the listener back to the nostalgia of early crushes. With \u003cem>Neon Noir\u003c/em>, Simon took a dark moment in his life and made something luminous. \u003cem>— Nia Coats\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/13EB3cUBrQNqkBZCUgCawi?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kamaiyah, \u003cem>DIVINE TIMING (DELUXE)\u003c/em> (KEEP IT LIT ENT.)\u003c/h2>\n\u003cp>Since her 2016 debut, \u003cem>A Good Night in the Ghetto\u003c/em>, Kamaiyah has asserted her way to the top of the hip-hop food chain, claiming a 2017 \u003ci>XXL\u003c/i> Freshman title and collabing with rap’s biggest trendsetters, including Drake, YG, Lil Yachty and G-Eazy. This year, the Oakland star returned with a refined version of her trademark vibe on \u003cem>DIVINE TIMING (DELUXE)\u003c/em>. Her second studio album, this project is made for the slappaholics, hustlers and smooth talkers. It’s a soundtrack for those who yearn for G-funk’s synth and bass on songs like “WHEN I SWANG.” Then there are the drippy bells and relentless tales of braggadocio on “Play Too Much,” featuring Cash Kidd.\u003c/p>\n\u003cp>For Oakland’s rap queen, it’s not just about flexing lyrical muscle over West Coast house party beats. She’s also here to share knowledge and intimate memories from her journey. On the album’s only interlude, “Brenda Talks From Heaven,” an audio recording plays a distorted voice message from a departed loved one. The humanity of the artist sharing a tender moment in a time of pain provides a moment of transcendence.\u003c/p>\n\u003cp>\u003cem>DIVINE TIMING (DELUXE)\u003c/em> is laced with a generous but not-overly-saturated number of guest features, including Vallejo’s Da Boii, Detroit’s Sada Baby and Dej Loaf, and the late Stockton rapper Young Slo-Be. With twice as many tracks included on this deluxe version as the original release, Kamaiyah reminds us why her flow is limitless — and divinely timed for Bay Area fans. \u003cem>— Alan Chazaro\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3201079726/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Brijean, \u003cem>Angelo\u003c/em> (Ghostly International)\u003c/h2>\n\u003cp>On the dance floor, we typically hear songs about love and desire, but disco-house duo Brijean offers an invitation to move our bodies as a form of release from pain. Their EP \u003ci>Angelo\u003c/i> opens with the echoes of singer-percussionist Brijean Murphy beckoning, “Which way to the club?” as if inviting us down an enchanted rabbit hole. But subtly and masterfully, the project weaves in themes of grief. Murphy and her musical and life partner, bassist-producer Doug Stuart, both lost parents over the past two years. The memory of Brijean’s father, Latin jazz percussionist Patrick Murphy, is embedded in \u003ci>Angelo\u003c/i>’s DNA through her dexterous conga rhythms, which the bandleader has referred to as family heirlooms.\u003c/p>\n\u003cp>“Shy Guy” and “Ooh La La” conjure a technicolor party somewhere balmy and tropical. But \u003ci>Angelo\u003c/i> comes to a more contemplative moment on the title track, named after the car in which Murphy and Stuart drove away from the Bay Area, first to care for ailing family members, and then to relocate to Los Angeles. That feeling of longing for loved ones, whether separated by distance or on another plane, comes into full view on “Caldwell’s Way,” a wistful, downtempo pop track with a keyboard solo that invites you to stare out the window in contemplation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2eR6L5nfTqjp97Kty4fCgs?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Elujay, \u003cem>Circmvnt\u003c/em> (OneTime!)\u003c/h2>\n\u003cp>Elujay’s track “Ratrace” set the tone for 2022. The refreshing percussion, light keys and bright synths combine to create a head-nodding beat, over which the Oakland-raised artist floats lyrics about yearning to be removed from our fast-paced society.\u003c/p>\n\u003cp>“It is easier to disassociate / Forget the race, rat race/ I’d risk it for you,” sings Elujay over production by Chris Palowitch, Hokage Simon and Anthony Shogun.\u003c/p>\n\u003cp>“Ratrace” is the first single off Elujay’s January 2022 release, \u003cem>Circmvnt\u003c/em>, a project full of delightful harmonies and heavy lyrics. On “Pandemia,” for example, he writes about the dangers of overconsumption and critiques the notion of sending children to school in the middle of the pandemic. But the song is so chill that the magnitude of the lyrics might escape you if you don’t read along as Elujay sings.\u003c/p>\n\u003cp>The album isn’t solely deep meditations about existential crises and the ills of society. On “Luvaroq,” which features serpantwithfeet, Elujay brings fans into his version of a lovers’ rock track. And on “1080p” (with HXNS), Elujay gives listeners music to break a sweat on the dancefloor.\u003c/p>\n\u003cp>\u003cem>Circmvnt\u003c/em> is both a soundtrack for the cool kids who have 1980s nostalgia and the philosophers who contemplate the future of humankind. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dregs One, \u003cem>Sucka Repellent\u003c/em> (Audio Vandals)\u003c/h2>\n\u003cp>Anyone who follows Dregs One on TikTok already knows: the man is a well of Bay Area hip-hop culture, broadcasting his mini-histories of legends like Mac Dre, Ill Mannered Playas, Hieroglyphics and RBL Posse to 41,000 followers. What’s not so widely known is Dregs’ own deep rap career — the latest installment of which, \u003cem>Sucka Repellent\u003c/em>, rolls up 30-plus years of Bay Area hip-hop history into 16 streetwise tracks.\u003c/p>\n\u003cp>Dregs nods to the bassline of Too Short’s “Blow the Whistle” in “28 Dubs”; the DJ Fresh-produced “Bobby Brown” calls for unity and blessings from “Frisco to San Jo, represent the Town bizness / Vallejo, Sacramento, Palo Alto, Richmond”; and guests like Husalah (“Geeked Up”), Cellski (“City Life”) and add an indelible Bay Area stamp.\u003c/p>\n\u003cp>But perhaps the most vivid encapsulation of Dregs’ own story comes on “Rap Cats.” In one succinct verse, Dregs recounts his aspirations as a hungry kid growing up in Lakeview: listening to \u003cem>The Wake Up Show\u003c/em>, wanting to sound like Tupac, digging in the crates, watching graffiti in the tunnels from the bus, selling albums on consignment and rocking house parties. With a guest verse from the one and only Spice 1, \u003cem>Sucka Repellent\u003c/em> comes full circle to an abiding truth: Frisco dreams really can come true. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=306833697/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>spacemoth, \u003cem>No Past No Future\u003c/em> (Wax Nine/Carpark Records)\u003c/h2>\n\u003cp>It’s an album that opens with an unflinching question — “When is this shit gonna end?” — and closes with a wholly depressing answer: “No future here.”\u003c/p>\n\u003cp>\u003cem>No Past No Future\u003c/em> is the disillusioned brainchild of Maryam Qudus, a studio engineer and producer that Bay Area locals might recognize from Women’s Audio Mission or Tiny Telephone studios. Qudus sounds like Stereolab’s cooler sister after spending an evening with Kathleen Hanna’s \u003cem>Julie Ruin\u003c/em> album, combining dreamy soundscapes, thoroughly dystopian lyrics and irresistibly lo-fi dance moments. (“Pipe and Pistol” and “Noise of Everyday Life” are upbeat highlights.) In between, Qudus touches on the racism she deals with because of her Afghan heritage (“L.O.T.F”) and offers a cleverly constructed critique of sexual harassment (“Asking for You”) that would’ve been at home on the \u003cem>Promising Young Woman\u003c/em> soundtrack.\u003c/p>\n\u003cp>Seamlessly combining sounds of the future with the persistent idea that there won’t be one isn’t a recipe that should work, but it is surprisingly satisfying in Qudus’ capable hands. Stash a copy in your doomsday bunker immediately. —\u003cem> Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Mystic, \u003cem>Dreaming In Cursive: The Girl Who Loved Sparklers\u003c/em> (Beautifull Soundworks)\u003c/h2>\n\u003cp>Mystic’s long-awaited third album arrived in August, two decades after her now-classic \u003cem>Cuts For Luck and Scars For Freedom\u003c/em>. In that time, she’s become an educator and healer, working in youth development. The Oakland MC brings that perspective to \u003cem>Dreaming In Cursive\u003c/em>, along with her own lived experiences, resulting in that rare hip-hop album that grounds itself in love and revels in wisdom. The album overflows with positive affirmations, cognizant of human struggle, but aspirational in nature and spiritual in tone. Mystic promises to “show you magic,” yet her invocations have more to do with uplifting souls than occult sorcery.\u003c/p>\n\u003cp>Mystic has always been a unicorn, talented at rapping, singing and spoken word, while being both socially conscious and street-savvy. \u003cem>Dreaming In Cursive\u003c/em> trades some of the edginess of her debut for a mellower overall vibe, complete with tasteful keyboards and poetic interludes. Boom-bap beats don’t dominate every track, but when they do surface, as on the anthemic single “We Are the People,” they bring a strident urgency without overshadowing her lyrical message. Which is, simply, that love is a revolutionary, transformative act that is foundational to liberation. Loving unapologetically — the album’s preeminent theme — requires having faith, vulnerability and intentional openness. This isn’t what we normally hear from rappers, but it’s perhaps what we need to hear more often. \u003cem>— Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=670857443/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Try the Pie, \u003cem>A Widening Burst of Forever\u003c/em> (Get Better Records)\u003c/h2>\n\u003cp>Equal parts cathartic and tender, Try the Pie’s \u003cem>A Widening Burst of Forever\u003c/em> features nine tracks that bounce between wistful and slow, loud and grungy. In “Asleep on the Lawn,” San Jose-raised singer-songwriter Bean Tupou’s clear and high vocals pierce the heavy reverberations of a simple guitar melody. “I didn’t see it like you,” they sing, soft and melancholic. Then, in “Last of You,” Tupou pivots into something grittier — with a more urgent vocal delivery and faster, cranked-up guitar riffs that collide into something worth headbanging to.\u003c/p>\n\u003cp>The album’s raw instrumentals are often paired with heartfelt lyrics. In “Awful Moon,” Tupou sings, “I’m just a fern below the dirt / unemerged,” confessing to an unnamed person that they are still delicate, still burgeoning, still growing into an unknown. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1815539143/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spote Breeze, \u003cem>Cascade Viewing\u003c/em> (Hot Record Societe)\u003c/h2>\n\u003cp>Spote Breeze is one the best-kept secrets of the Bay Area’s hip-hop scene. He’s usually hiding behind glasses and a hoodie, and rarely does he promote himself. But his music for self-described introverts shows that the quiet ones, the people who sit back and observe, often have the wisest things to say. On \u003ci>Cascade Viewing\u003c/i>, airy jazz- and soul-inflected beats by OG Jarin crackle with the sound of a vintage record player. With this vibe of an intimate listening session, the production gives the Oakland MC space to explore his inner world, as if writing diary entries in the blank pages of a notebook.\u003c/p>\n\u003cp>Spote’s story-rich verses ruminate on hard life experiences, eventually pulling out kernels of wisdom about friendship, personal growth and spirituality. Like the title \u003ci>Cascade Viewing\u003c/i> suggests (it’s an almost-homonym for “casket viewing”), brushes with death haunt the album’s 13 tracks. But even amid grim reminders of our mortality, Spote builds a more hopeful future, and his intricate rhymes are the foundation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0BAcSuVdtXejNW6zQsIlJa?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Nate Curry and YMTK, \u003cem>By Design\u003c/em> (Self-Released)\u003c/h2>\n\u003cp>In February, Oakland’s YMTK and Sacramento’s Nate Curry dropped \u003cem>By Design\u003c/em>, a nine-track project that fuses modern R&B with touches of trip-hop, heavy basslines and a dash pop flare. It’s the definition of eclectic.\u003c/p>\n\u003cp>The album begins with a mellow title track, about the perseverance it takes to achieve your goals, and takes listeners through a journey of physical attraction, the pursuit of love and the process of healing from love lost.\u003c/p>\n\u003cp>The house-influenced “Miss That” is a feel-good song about a relationship ending — somewhat of a contradictory notion, but it works really well for the healing process. It’s followed by “Silence,” where Jay Anthony joins YMTK and Nate Curry on a beat with a blappin’, mobb music bassline. The album features Bay Area standouts Guap, P-Lo and Symba — and a rare verse from Lil B — as well as Los Angeles’ Iman Europe and Phabo.\u003c/p>\n\u003cp>The sonic diversity in this album is a nod to the talent of Nate Curry and YMTK, who’ve figured out ways to work with a wide range of artists from the region. When Northern Californian artists join to create quality work, it does wonders for all of us. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3Z9uDO0cSfAgKDhwHHh2mQ?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Calvin Keys, \u003cem>Blue Keys\u003c/em> (Wide Hive Records)\u003c/h2>\n\u003cp>On the cusp of his 80th birthday, Calvin Keys sounds as lean and potent as ever. The Oakland guitarist has been at the center of the Bay Area jazz since the mid-1970s, and his new album \u003cem>Blue Keys\u003c/em> finds him keeping company with a bevy of similarly distinguished masters, including former Bay Area-based percussionist Babatunde Lea, bassist Henry “The Skipper” Franklin, alto saxophonist Gary Bartz and trombonist Steve Turre (who also contributes on conch shells). As with many releases on Berkeley’s Wide Hive Records, label owner Gregory Howe is in the thick of the action as a pianist, organist, composer and overall sound designer. Rather than a late-career valedictory statement, Keys’ fourth release on Wide Hive is the work of an artist who still sounds hungry to extend his creative purview.\u003c/p>\n\u003cp>Keys is best known for his understated eloquence in straight-ahead jazz settings, placing each note for maximum rhythmic and emotional impact. Blue Keys surrounds him with thickly textured horns, kicking off with “Peregrines Dive.” Laced with the woozily surging opening refrain from Horace Silver’s hard-bop classic “Nutville,” the tune gains momentum and heft until the horns give way, and Keys resets the stage with a sharply etched, telegraphic solo. Turre’s gorgeous conch solo on “Ck 22” provides a striking tonal contrast to Keys’ stinging phrasing while the second half “At Arrival” opens up into a delicate Keys and Bartz duet that’s worth the price of admission alone. Smart, soulful and pleasingly concise, Keys is an improviser in his prime. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1280115653/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Richie Cunning, \u003cem>Big Deal\u003c/em> (Son of the City)\u003c/h2>\n\u003cp>Rappers often shout out Frank Sinatra for his style, his underworld ties and his attitude. But let’s face it: musically, the two are worlds apart. Pop-vocal easy listening from the 1950s mixed with today’s hip-hop? The idea sounds preposterous.\u003c/p>\n\u003cp>Enter San Francisco rapper Richie Cunning and his latest album, \u003cem>Big Deal\u003c/em>, filled with lush strings, muted trumpet, walking bass and tinkling piano. While Cunning raps with smooth ease, the voices of Sammy Davis Jr. and Bobby Darin weave in and out, and the whole thing is structured and paced to resemble a boom-bap microphone fiend time-traveling to a midnight set at an Eisenhower-era supper club.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Weirdly, it works. Cunning obviously cares about his source material and hip-hop in equal measure, and even seems to acknowledge the illusory myth that the 1950s provided (“Here’s to everybody hopin’ to escape their ghosts”). Each time I hear \u003cem>Big Deal\u003c/em>, I think the same thing: someone better book him at Yoshi’s soon. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though the music industry has been \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">incredibly challenging for independent artists\u003c/a> since the start of the pandemic, the Bay Area brought it in 2022. Throughout the year, veteran artists and newcomers alike set new bars for ingenuity and excellence. They invited us to have fun and get inspired, but they also offered opportunities for catharsis, for processing global events and personal challenges.\u003c/p>\n\u003cp>Without further ado, these are KQED Arts & Culture’s favorite albums of the year, in no particular order. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2KvfsMy0IQ2XRd5Rh7Ur2Q?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Zyah Belle, \u003cem>Yam Grier\u003c/em> (Guin Records)\u003c/h2>\n\u003cp>Zyah Belle has range. On her most confident album yet, the Vallejo-raised singer delves into the many emotional shades of love, using them as a catalyst for growth and self-mastery. On the opening track, “Ready Or Not,” Belle arrives, heart bursting, approaching a new love as if it were a magical gateway to another realm. Her silky mezzo-soprano voice, honed in church choir, makes her rapture contagious. But passions cool on “Holding On,” a low-key disco track with lyrics about not wanting to accept that a relationship is past its expiration date.\u003c/p>\n\u003cp>We see Belle embrace her sexuality on “Back to Back,” a smoldering duet with Jordan Hawkins, where the singers yearn for a hookup too good not to pursue. And with standout track “Cold Blooded,” Belle shifts beyond pretty and embodies a darker persona — one who learned the game from Too $hort, who gets name-dropped in the track. The minimalist guitar strum of “Healing” offers a tender moment of reprieve, offering affirmations for anyone recovering from a setback. A solid companion piece to grown-woman R&B albums like Jazmine Sullivan’s \u003cem>Heaux Tales\u003c/em> and Ari Lennox’s \u003cem>Shea Butter Baby\u003c/em>, Belle’s \u003cem>Yam Grier\u003c/em> is emotionally honest, and full of sumptuous textures and smart storytelling. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5E5phS3ZeUFwzrDMqqQiwx?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mistah F.A.B., \u003cem>Black Designer\u003c/em> (Faeva Afta)\u003c/h2>\n\u003cp>It doesn’t take long for Oakland rapper Mistah F.A.B. to articulate why \u003cem>Black Designer\u003c/em> is being called his “mature” album: just 22 seconds into its eponymous kickoff track, he raps, “Busy as hell but always answer when my daughter calls / Present when my son took his first steps.” Other song titles reference Black cultural icons — among them Duke Ellington, Dorothy Dandridge, Mansa Musa, and W.E.B. Du Bois. “George Washington Carver” could have easily been titled “Flower Shop” — it’s more about props than crops — but artistic license appears to be a by-product of F.A.B. owning his own masters.\u003c/p>\n\u003cp>F.A.B. has added adulting to a skillset that already included evocative imagery and nimble, punchline-laden flows. High-flying tales of lavish international trips fluidly contrast with socially conscious and inspirational messages: “I grew up poor, who ashamed of that? Not me / It’s just evidence that can’t nothing in life stop me,” he raps. \u003cem>Black Designer\u003c/em>’s 22 tracks, spanning over 80 minutes, run lyrical circles around 95% of rappers alive. Though rooted in boastfulness, the use of patterns, alliteration, slang and metaphors overflow with creative mojo and a newfound sense of purpose. The album eschews trap or drill beats, instead offering up lush beds of jazzy, soulful loops more consistent with hip-hop’s history than its present state. The result is one of the best Bay Area hip-hop albums in recent memory, one that knows the world is bigger than the block. \u003cem>—\u003c/em>\u003cem> Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DTVVsFW3Jhi4Jw8flTAGR?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rexx Life Raj, \u003cem>The Blue Hour\u003c/em> (Rexx Life/EMPIRE)\u003c/h2>\n\u003cp>After the recent passing of his mother and father, Berkeley’s Rexx Life Raj took time to pour his pain into a work of art, \u003cem>The Blue Hour\u003c/em>.\u003c/p>\n\u003cp>The 12-track album, named after the time of the day just before dawn, takes listeners through some of the darkest moments in Raj’s life. And still, between intimate details of grief, he finds space to slide in slices of levity, clever lyrics and a player lifestyle.\u003c/p>\n\u003cp>“Beauty in The Madness,” featuring Wale and Fireboy DML, is a club-ready track for those who like to dance. “Scared Money” is a raw display of real rapper bars over a beat that’s an audible punch in the face. “Jerry Curl,” featuring Larry June, is the soundtrack to smoke and ride to.\u003c/p>\n\u003cp>But it’s the song “Save Yourself” that’s arguably the most important song to come out of the region this year. Raj opens his first verse by rapping, “When I was down bad / Looked in the mirror and realized I was all that I had / Had fam and the gang is the landing pad / But if I don’t steer the plane, then it’ll still crash.”\u003c/p>\n\u003cp>He delivers a Sunday morning sermon about self-reliance while riding a bass-heavy beat. It taps directly into the cerebral cortex and pushes listeners to enter a transcendent state where pain and love merge in this thing we know as music.\u003c/p>\n\u003cp>It’s art at its highest form.\u003c/p>\n\u003cp>To mourn in public is to show the world your full humanity. To create art and invite others to share in the grieving process pushes all of us to be more fully human. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4C87UAmhJ3nhATyp9nCI4i?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fantastic Negrito, \u003cem>White Jesus Black Problems\u003c/em> (Storefront Records)\u003c/h2>\n\u003cp>Liberated from the show-business pressures he encountered in the 1990s, when he was a young R&B singer with a major-label deal, Oakland’s Fantastic Negrito has earned a national following in recent years. The inaugural winner of NPR’s Tiny Desk Contest, and a three-time Grammy winner for Best Contemporary Blues Album, he’s emphasized honesty and a pursuit of self that honors his roots.\u003c/p>\n\u003cp>On Fantastic Negrito’s latest album, \u003cem>White Jesus Black Problems\u003c/em>, the angelically psychedelic chorus of opening track “Venomous Dogma” enraptures you and doesn’t let go. Another track, “You Don’t Belong Here,” is a sound-rich window into the realities of oppression and otherness.\u003c/p>\n\u003cp>Fantastic Negrito released \u003cem>White Jesus Black Problems\u003c/em> with a \u003ca href=\"https://www.youtube.com/watch?v=BGOBdCscvgo\" target=\"_blank\" rel=\"noopener noreferrer\">short film of the same title\u003c/a>. As he narrates in the introduction, it’s “a love story” — one that he lays bare on “Virginia Soil,” the last track on the album. It situates the listener in Oakland and Virginia at the same time, and honors Fantastic Negrito’s 18th-century ancestors. His white Scottish grandmother, Gallamore, and his enslaved African American grandfather — whom Negrito calls Courage — lived in defiance of the racist social order of their time. “Freedom will come,” Fantastic Negrito sings triumphantly on the track. As listeners, we’re better for his prophetic nudges towards liberty. \u003cem>— Camilo Garzón\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3iIQrRl8NG7AgSJlStJdQw?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>mxmtoon, \u003cem>rising\u003c/em> (AWAL Recordings America)\u003c/h2>\n\u003cp>When Maia — known as mxmtoon — was 17, she wrote “prom dress,” a sad yet upbeat anthem for lost teenagers overwhelmed by doubt and confusion. Now, four years later, the Oakland-born singer-songwriter reflects on how life has changed and her evolution in her latest album, \u003cem>rising\u003c/em>.\u003c/p>\n\u003cp>Like much of mxmtoon’s discography, \u003cem>rising\u003c/em> features tender, heartfelt lyrics and dreamy pop instrumentals delivered with high, soft vocals. Many songs on the album tackle aging, nostalgia, the pressures of societal expectations and what it means to look forward as you let go of your younger self. In “victim of nostalgia,” a track fit for a coming-of-age film, mxmtoon sings: “It’s the panic of growing up / It’s the fear of fallin’ down,” illustrating her unsteadiness as she enters her early 20s.\u003c/p>\n\u003cp>But this doubt is balanced by songs like “kaleidoscope,” where she accepts that the chaos the unknown is where she can truly grow. “Count all of my colors, but you’ll never know,” she sings, boldly accepting that this new era she enters is one of many to come. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2855467910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Toro Y Moi, \u003cem>Mahal\u003c/em> (Dead Oceans)\u003c/h2>\n\u003cp>Every single one of my teenage years was spent in the 1990s. While a lot of people look back on their formative years and cringe, I never have. I loved everything about that decade — the fashion, the music, the creative communities, the attitude. The current ’90s revival then, has been filling me with joy all year — and Toro Y Moi’s chillwave has proven to be the perfect soundtrack.\u003c/p>\n\u003cp>On \u003cem>Mahal\u003c/em>, the Oakland artist and producer (real name: Chaz Bear) mashes a plethora of ’90s trends seamlessly into one expansive, alluring mirage. Combining dreamy soundscapes, fuzzy indie-rock guitars, hip-hop beats (that occasionally nod in the direction of drum and bass) and the same ’70s funk sensibilities we embraced in the ’90s, Toro Y Moi is so retro, he’s entirely of the moment.\u003c/p>\n\u003cp>To me, \u003cem>Mahal\u003c/em> sounds like seven people smoking weed in a tiny dorm room, backpacks and skateboards piled up in the corner. It sounds like making out under the stars on the walk home. It sounds like dancing with your friends in a sweaty basement. It sounds like living, and it’s beautiful. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3I7zgqesHxrk9YQ5ZrHz3v?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Tales of the Town\u003c/em> (Tales of the Town)\u003c/h2>\n\u003cp>It’s been a tremendously exciting year for Bay Area rap and R&B, and \u003cem>Tales of the Town\u003c/em> is the natural culmination. With a who’s-who of the region’s rich talent (including Guap, ShooterGang Kony, G-Eazy, P-Lo, Jane Handcock, Koran Streets, Pallaví, Shy’An G, Ian Kelly, ALLBLACK, Kevin Allen and others), the compilation isn’t a sampler so much as a statement of purpose. Concurrent with the \u003ca href=\"https://www.kqed.org/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">podcast of the same name\u003c/a> (presented by activist organization People’s Programs), \u003cem>Tales of the Town\u003c/em> addresses Oakland history, sports, police brutality, gentrification and the housing crisis — all while proving the case for Oakland as a center of Black Excellence.\u003c/p>\n\u003cp>The multigenerational result is verses from veterans like J Stalin, who addresses Oscar Grant (“Three years for a Black life / And they want you to praise Christ?”), and newcomers like LaRussell, who takes on police and environmental racism (“How they build a hood and a power plant adjacent?”). With spoken-word segues from Town figures like Tupac Shakur and an overarching trajectory toward making Oakland a more equitable city, \u003cem>Tales of the Town\u003c/em> is 2022’s sharpest musical snapshot of the Bay Area right now. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=370607175/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Samora Pinderhughes, \u003cem>GRIEF\u003c/em> (Stretch Music/Ropeadope)\u003c/h2>\n\u003cp>The Bay Area got a deep look into the research that inspired Berkeley-reared pianist, songwriter and vocalist Samora Pinderhughes’ album \u003cem>GRIEF\u003c/em> last spring with \u003cem>The Healing Project\u003c/em>, a multimedia installation at Yerba Buena Center for the Arts produced by Anna Deavere Smith, Glenn Ligon and Vijay Iyer. A cool-toned but scorching \u003cem>cri de coeur\u003c/em> revealing the costs of mass incarceration, \u003cem>GRIEF\u003c/em> peels back the mounting losses one devastating track at a time.\u003c/p>\n\u003cp>Like on the title song, with its sinuous, whispered refrain of “death is much worse for the ones left behind,” the project’s inviting melodic hooks and luscious production generate crackling tension with the abject content. Spiritually charged but utterly grounded, the songs don’t attempt to put pieces back together as much as honor the wounds, hinting at avenues toward healing. Joined by a superlative ensemble featuring drummer Marcus Gilmore, electric bassist Boom Bishop, double bassist Clovis Nicolas, alto saxophonist Immanuel Wilkins, tenor saxophonist Lucas Pino and vocalists Nio Levon and Jehbreal Jackson — as well Samora’s younger sister Elena Pinderhughes on flute — \u003cem>GRIEF\u003c/em> marks Pinderhughes’ transformation from promising jazz pianist to visionary songwriter and producer with a rarified skillset and prophetic agenda. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1475871226&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hokage Simon, \u003cem>Neon Noir\u003c/em> (self-released)\u003c/h2>\n\u003cp>Vallejo artist Hokage Simon has had an eventful year. He’s been handling his business, playing keys for rising artists like LaRussell and Elujay, and even walking in the 2022 TOMBOGO fashion show. He dropped his seven-song album \u003cem>Neon Noir\u003c/em> this summer, following up on the joint album he released with LaRussell, \u003cem>For What It’s Worth\u003c/em>, in March. Simon wrote \u003cem>Neon Noir\u003c/em> while battling cancer, and he released it on the one-year anniversary of his recovery. On the summery song “Enough,” featuring Tomas Jordan, Simon fuses an R&B two-step with a funky undertone and light vocals. This album spotlights Simon’s expansive synth playing, traversing R&B, psychedelic pop, jazz and boogie. On another standout song, “Gullible,” Simon sings about being sprung over someone, taking the listener back to the nostalgia of early crushes. With \u003cem>Neon Noir\u003c/em>, Simon took a dark moment in his life and made something luminous. \u003cem>— Nia Coats\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/13EB3cUBrQNqkBZCUgCawi?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kamaiyah, \u003cem>DIVINE TIMING (DELUXE)\u003c/em> (KEEP IT LIT ENT.)\u003c/h2>\n\u003cp>Since her 2016 debut, \u003cem>A Good Night in the Ghetto\u003c/em>, Kamaiyah has asserted her way to the top of the hip-hop food chain, claiming a 2017 \u003ci>XXL\u003c/i> Freshman title and collabing with rap’s biggest trendsetters, including Drake, YG, Lil Yachty and G-Eazy. This year, the Oakland star returned with a refined version of her trademark vibe on \u003cem>DIVINE TIMING (DELUXE)\u003c/em>. Her second studio album, this project is made for the slappaholics, hustlers and smooth talkers. It’s a soundtrack for those who yearn for G-funk’s synth and bass on songs like “WHEN I SWANG.” Then there are the drippy bells and relentless tales of braggadocio on “Play Too Much,” featuring Cash Kidd.\u003c/p>\n\u003cp>For Oakland’s rap queen, it’s not just about flexing lyrical muscle over West Coast house party beats. She’s also here to share knowledge and intimate memories from her journey. On the album’s only interlude, “Brenda Talks From Heaven,” an audio recording plays a distorted voice message from a departed loved one. The humanity of the artist sharing a tender moment in a time of pain provides a moment of transcendence.\u003c/p>\n\u003cp>\u003cem>DIVINE TIMING (DELUXE)\u003c/em> is laced with a generous but not-overly-saturated number of guest features, including Vallejo’s Da Boii, Detroit’s Sada Baby and Dej Loaf, and the late Stockton rapper Young Slo-Be. With twice as many tracks included on this deluxe version as the original release, Kamaiyah reminds us why her flow is limitless — and divinely timed for Bay Area fans. \u003cem>— Alan Chazaro\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3201079726/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Brijean, \u003cem>Angelo\u003c/em> (Ghostly International)\u003c/h2>\n\u003cp>On the dance floor, we typically hear songs about love and desire, but disco-house duo Brijean offers an invitation to move our bodies as a form of release from pain. Their EP \u003ci>Angelo\u003c/i> opens with the echoes of singer-percussionist Brijean Murphy beckoning, “Which way to the club?” as if inviting us down an enchanted rabbit hole. But subtly and masterfully, the project weaves in themes of grief. Murphy and her musical and life partner, bassist-producer Doug Stuart, both lost parents over the past two years. The memory of Brijean’s father, Latin jazz percussionist Patrick Murphy, is embedded in \u003ci>Angelo\u003c/i>’s DNA through her dexterous conga rhythms, which the bandleader has referred to as family heirlooms.\u003c/p>\n\u003cp>“Shy Guy” and “Ooh La La” conjure a technicolor party somewhere balmy and tropical. But \u003ci>Angelo\u003c/i> comes to a more contemplative moment on the title track, named after the car in which Murphy and Stuart drove away from the Bay Area, first to care for ailing family members, and then to relocate to Los Angeles. That feeling of longing for loved ones, whether separated by distance or on another plane, comes into full view on “Caldwell’s Way,” a wistful, downtempo pop track with a keyboard solo that invites you to stare out the window in contemplation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2eR6L5nfTqjp97Kty4fCgs?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Elujay, \u003cem>Circmvnt\u003c/em> (OneTime!)\u003c/h2>\n\u003cp>Elujay’s track “Ratrace” set the tone for 2022. The refreshing percussion, light keys and bright synths combine to create a head-nodding beat, over which the Oakland-raised artist floats lyrics about yearning to be removed from our fast-paced society.\u003c/p>\n\u003cp>“It is easier to disassociate / Forget the race, rat race/ I’d risk it for you,” sings Elujay over production by Chris Palowitch, Hokage Simon and Anthony Shogun.\u003c/p>\n\u003cp>“Ratrace” is the first single off Elujay’s January 2022 release, \u003cem>Circmvnt\u003c/em>, a project full of delightful harmonies and heavy lyrics. On “Pandemia,” for example, he writes about the dangers of overconsumption and critiques the notion of sending children to school in the middle of the pandemic. But the song is so chill that the magnitude of the lyrics might escape you if you don’t read along as Elujay sings.\u003c/p>\n\u003cp>The album isn’t solely deep meditations about existential crises and the ills of society. On “Luvaroq,” which features serpantwithfeet, Elujay brings fans into his version of a lovers’ rock track. And on “1080p” (with HXNS), Elujay gives listeners music to break a sweat on the dancefloor.\u003c/p>\n\u003cp>\u003cem>Circmvnt\u003c/em> is both a soundtrack for the cool kids who have 1980s nostalgia and the philosophers who contemplate the future of humankind. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dregs One, \u003cem>Sucka Repellent\u003c/em> (Audio Vandals)\u003c/h2>\n\u003cp>Anyone who follows Dregs One on TikTok already knows: the man is a well of Bay Area hip-hop culture, broadcasting his mini-histories of legends like Mac Dre, Ill Mannered Playas, Hieroglyphics and RBL Posse to 41,000 followers. What’s not so widely known is Dregs’ own deep rap career — the latest installment of which, \u003cem>Sucka Repellent\u003c/em>, rolls up 30-plus years of Bay Area hip-hop history into 16 streetwise tracks.\u003c/p>\n\u003cp>Dregs nods to the bassline of Too Short’s “Blow the Whistle” in “28 Dubs”; the DJ Fresh-produced “Bobby Brown” calls for unity and blessings from “Frisco to San Jo, represent the Town bizness / Vallejo, Sacramento, Palo Alto, Richmond”; and guests like Husalah (“Geeked Up”), Cellski (“City Life”) and add an indelible Bay Area stamp.\u003c/p>\n\u003cp>But perhaps the most vivid encapsulation of Dregs’ own story comes on “Rap Cats.” In one succinct verse, Dregs recounts his aspirations as a hungry kid growing up in Lakeview: listening to \u003cem>The Wake Up Show\u003c/em>, wanting to sound like Tupac, digging in the crates, watching graffiti in the tunnels from the bus, selling albums on consignment and rocking house parties. With a guest verse from the one and only Spice 1, \u003cem>Sucka Repellent\u003c/em> comes full circle to an abiding truth: Frisco dreams really can come true. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=306833697/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>spacemoth, \u003cem>No Past No Future\u003c/em> (Wax Nine/Carpark Records)\u003c/h2>\n\u003cp>It’s an album that opens with an unflinching question — “When is this shit gonna end?” — and closes with a wholly depressing answer: “No future here.”\u003c/p>\n\u003cp>\u003cem>No Past No Future\u003c/em> is the disillusioned brainchild of Maryam Qudus, a studio engineer and producer that Bay Area locals might recognize from Women’s Audio Mission or Tiny Telephone studios. Qudus sounds like Stereolab’s cooler sister after spending an evening with Kathleen Hanna’s \u003cem>Julie Ruin\u003c/em> album, combining dreamy soundscapes, thoroughly dystopian lyrics and irresistibly lo-fi dance moments. (“Pipe and Pistol” and “Noise of Everyday Life” are upbeat highlights.) In between, Qudus touches on the racism she deals with because of her Afghan heritage (“L.O.T.F”) and offers a cleverly constructed critique of sexual harassment (“Asking for You”) that would’ve been at home on the \u003cem>Promising Young Woman\u003c/em> soundtrack.\u003c/p>\n\u003cp>Seamlessly combining sounds of the future with the persistent idea that there won’t be one isn’t a recipe that should work, but it is surprisingly satisfying in Qudus’ capable hands. Stash a copy in your doomsday bunker immediately. —\u003cem> Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Mystic, \u003cem>Dreaming In Cursive: The Girl Who Loved Sparklers\u003c/em> (Beautifull Soundworks)\u003c/h2>\n\u003cp>Mystic’s long-awaited third album arrived in August, two decades after her now-classic \u003cem>Cuts For Luck and Scars For Freedom\u003c/em>. In that time, she’s become an educator and healer, working in youth development. The Oakland MC brings that perspective to \u003cem>Dreaming In Cursive\u003c/em>, along with her own lived experiences, resulting in that rare hip-hop album that grounds itself in love and revels in wisdom. The album overflows with positive affirmations, cognizant of human struggle, but aspirational in nature and spiritual in tone. Mystic promises to “show you magic,” yet her invocations have more to do with uplifting souls than occult sorcery.\u003c/p>\n\u003cp>Mystic has always been a unicorn, talented at rapping, singing and spoken word, while being both socially conscious and street-savvy. \u003cem>Dreaming In Cursive\u003c/em> trades some of the edginess of her debut for a mellower overall vibe, complete with tasteful keyboards and poetic interludes. Boom-bap beats don’t dominate every track, but when they do surface, as on the anthemic single “We Are the People,” they bring a strident urgency without overshadowing her lyrical message. Which is, simply, that love is a revolutionary, transformative act that is foundational to liberation. Loving unapologetically — the album’s preeminent theme — requires having faith, vulnerability and intentional openness. This isn’t what we normally hear from rappers, but it’s perhaps what we need to hear more often. \u003cem>— Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=670857443/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Try the Pie, \u003cem>A Widening Burst of Forever\u003c/em> (Get Better Records)\u003c/h2>\n\u003cp>Equal parts cathartic and tender, Try the Pie’s \u003cem>A Widening Burst of Forever\u003c/em> features nine tracks that bounce between wistful and slow, loud and grungy. In “Asleep on the Lawn,” San Jose-raised singer-songwriter Bean Tupou’s clear and high vocals pierce the heavy reverberations of a simple guitar melody. “I didn’t see it like you,” they sing, soft and melancholic. Then, in “Last of You,” Tupou pivots into something grittier — with a more urgent vocal delivery and faster, cranked-up guitar riffs that collide into something worth headbanging to.\u003c/p>\n\u003cp>The album’s raw instrumentals are often paired with heartfelt lyrics. In “Awful Moon,” Tupou sings, “I’m just a fern below the dirt / unemerged,” confessing to an unnamed person that they are still delicate, still burgeoning, still growing into an unknown. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1815539143/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spote Breeze, \u003cem>Cascade Viewing\u003c/em> (Hot Record Societe)\u003c/h2>\n\u003cp>Spote Breeze is one the best-kept secrets of the Bay Area’s hip-hop scene. He’s usually hiding behind glasses and a hoodie, and rarely does he promote himself. But his music for self-described introverts shows that the quiet ones, the people who sit back and observe, often have the wisest things to say. On \u003ci>Cascade Viewing\u003c/i>, airy jazz- and soul-inflected beats by OG Jarin crackle with the sound of a vintage record player. With this vibe of an intimate listening session, the production gives the Oakland MC space to explore his inner world, as if writing diary entries in the blank pages of a notebook.\u003c/p>\n\u003cp>Spote’s story-rich verses ruminate on hard life experiences, eventually pulling out kernels of wisdom about friendship, personal growth and spirituality. Like the title \u003ci>Cascade Viewing\u003c/i> suggests (it’s an almost-homonym for “casket viewing”), brushes with death haunt the album’s 13 tracks. But even amid grim reminders of our mortality, Spote builds a more hopeful future, and his intricate rhymes are the foundation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0BAcSuVdtXejNW6zQsIlJa?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Nate Curry and YMTK, \u003cem>By Design\u003c/em> (Self-Released)\u003c/h2>\n\u003cp>In February, Oakland’s YMTK and Sacramento’s Nate Curry dropped \u003cem>By Design\u003c/em>, a nine-track project that fuses modern R&B with touches of trip-hop, heavy basslines and a dash pop flare. It’s the definition of eclectic.\u003c/p>\n\u003cp>The album begins with a mellow title track, about the perseverance it takes to achieve your goals, and takes listeners through a journey of physical attraction, the pursuit of love and the process of healing from love lost.\u003c/p>\n\u003cp>The house-influenced “Miss That” is a feel-good song about a relationship ending — somewhat of a contradictory notion, but it works really well for the healing process. It’s followed by “Silence,” where Jay Anthony joins YMTK and Nate Curry on a beat with a blappin’, mobb music bassline. The album features Bay Area standouts Guap, P-Lo and Symba — and a rare verse from Lil B — as well as Los Angeles’ Iman Europe and Phabo.\u003c/p>\n\u003cp>The sonic diversity in this album is a nod to the talent of Nate Curry and YMTK, who’ve figured out ways to work with a wide range of artists from the region. When Northern Californian artists join to create quality work, it does wonders for all of us. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3Z9uDO0cSfAgKDhwHHh2mQ?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Calvin Keys, \u003cem>Blue Keys\u003c/em> (Wide Hive Records)\u003c/h2>\n\u003cp>On the cusp of his 80th birthday, Calvin Keys sounds as lean and potent as ever. The Oakland guitarist has been at the center of the Bay Area jazz since the mid-1970s, and his new album \u003cem>Blue Keys\u003c/em> finds him keeping company with a bevy of similarly distinguished masters, including former Bay Area-based percussionist Babatunde Lea, bassist Henry “The Skipper” Franklin, alto saxophonist Gary Bartz and trombonist Steve Turre (who also contributes on conch shells). As with many releases on Berkeley’s Wide Hive Records, label owner Gregory Howe is in the thick of the action as a pianist, organist, composer and overall sound designer. Rather than a late-career valedictory statement, Keys’ fourth release on Wide Hive is the work of an artist who still sounds hungry to extend his creative purview.\u003c/p>\n\u003cp>Keys is best known for his understated eloquence in straight-ahead jazz settings, placing each note for maximum rhythmic and emotional impact. Blue Keys surrounds him with thickly textured horns, kicking off with “Peregrines Dive.” Laced with the woozily surging opening refrain from Horace Silver’s hard-bop classic “Nutville,” the tune gains momentum and heft until the horns give way, and Keys resets the stage with a sharply etched, telegraphic solo. Turre’s gorgeous conch solo on “Ck 22” provides a striking tonal contrast to Keys’ stinging phrasing while the second half “At Arrival” opens up into a delicate Keys and Bartz duet that’s worth the price of admission alone. Smart, soulful and pleasingly concise, Keys is an improviser in his prime. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1280115653/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Richie Cunning, \u003cem>Big Deal\u003c/em> (Son of the City)\u003c/h2>\n\u003cp>Rappers often shout out Frank Sinatra for his style, his underworld ties and his attitude. But let’s face it: musically, the two are worlds apart. Pop-vocal easy listening from the 1950s mixed with today’s hip-hop? The idea sounds preposterous.\u003c/p>\n\u003cp>Enter San Francisco rapper Richie Cunning and his latest album, \u003cem>Big Deal\u003c/em>, filled with lush strings, muted trumpet, walking bass and tinkling piano. While Cunning raps with smooth ease, the voices of Sammy Davis Jr. and Bobby Darin weave in and out, and the whole thing is structured and paced to resemble a boom-bap microphone fiend time-traveling to a midnight set at an Eisenhower-era supper club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weirdly, it works. Cunning obviously cares about his source material and hip-hop in equal measure, and even seems to acknowledge the illusory myth that the 1950s provided (“Here’s to everybody hopin’ to escape their ghosts”). Each time I hear \u003cem>Big Deal\u003c/em>, I think the same thing: someone better book him at Yoshi’s soon. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From Pro Football to R&B, Larrenwong Puts His Heart Into It",
"headTitle": "From Pro Football to R&B, Larrenwong Puts His Heart Into It | KQED",
"content": "\u003cp>It seems like \u003ca href=\"https://www.instagram.com/larrenwong/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LarrenWong\u003c/a> can do a little bit of everything.\u003c/p>\n\u003cp>He’s a former linebacker who played football at James Logan High School and Northwestern University, before signing a professional contract with the Seattle Seahawks. He’s an avid reader, student of art history and a talented painter. He’s a rising R&B star who sings, writes and plays the guitar; earlier this year he dropped a quality album titled, \u003cem>\u003ca href=\"https://open.spotify.com/album/5M46rpIqXw0R1nfzXoQQMW\" target=\"_blank\" rel=\"noopener noreferrer\">Songs That I Hate To Sing\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13922178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-800x813.png\" alt=\"R&B singer LarrenWong raises his left hand as he stands on stage singing during a show. \" width=\"800\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-800x813.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-1020x1037.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-160x163.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-768x781.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM.png 1314w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R&B singer LarrenWong raises his left hand as he stands on stage singing during a show. \u003ccite>(Via LarrenWong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in Union City where he was exposed to different cultures, competitive athletes and creative individuals, Larren says his earliest musical influence came from inside of own his home. His grandfather, Mr. B (Butler Wong), was a former member of the New York Philharmonic and one of Larren’s first musical instructors.\u003c/p>\n\u003cp>Larren took those lessons and built on them. He learned to play the guitar and write music. After stepping away from his football career, Larren jumped full-time into music and he’s been making waves ever since.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larrenwong - Mama | A COLORS SHOW\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/efjvYfhMpXc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>His work is spreading. Earlier this year Larren was invited to perform the song “Mama” off his latest project for the web-based musical performance series, \u003ca href=\"https://www.youtube.com/watch?v=efjvYfhMpXc\" target=\"_blank\" rel=\"noopener noreferrer\">COLORS Studios\u003c/a>.\u003c/p>\n\u003cp>And this week Larren sits down with the Rightnowish team to discuss it all.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8877001697&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3XTrw4j\">Read the transcript\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Larrenwong\u003c/strong>\u003c/p>\n\u003cp>\u003cb>PEN: \u003c/b>\u003cspan style=\"font-weight: 400\">This year, 2022, you dropped \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Songs That I Hate to Sing.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> There’s a lot of like almost like baby-making music, a\u003c/span> lot of love and things that go along with love. The standout one of the standout tracks is “Mama”, a track about a significant other, a woman talking to her mother about their significant other or somebody who they’ve broken up with, is what I gathered from it.\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\">Shout out Drew Banga for doing the bass line on “Mama.” Shout out Ramone Criswell and my boy Lyrical Miracle, Camp Kid for helping me write the record and shout out uh, yeah, shout out the inspiration for that song. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> The inspiration! Come on man. You beating around the bush. That’s what I wanna know. You wrote this song about a real life situation? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay now we are talking.\u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> It feels dope that people like, resonate with it. You know, it feels dope that every time I challenge myself to just be honest, you know, and candid about how I’m feeling about certain things and to see how people grav- like how it resonates with people. It’s been pretty amazing to see, especially when you do it on the road.\u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> “Only Heaven Knows” , what was the thought process behind that song ? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> Women bro, women [laughs] is usually the inspiration for the music. But me and Solo were both talking to two girls at the time, at the end of college, they were both at pivotal moments, so we kinda wrote the record to that, speaking to them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Kristen Holt. She’s the female voice on that song. Funny enough, she doesn’t record that often as a musical artist and put stuff out. She’s fire.\u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being self-taught, also having the family influence, how have artists in the Bay Area influenced your craft?\u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\">As I got into high school, I started to do more history and see that it’s like, oh, it’s not just hip hop. It’s actually like a crazy lineage of artistry out here, like Sly And The Family Stone, Tony! Toni! Toné!, Raphael Saadiq. Yeah and I listen, I study, I listen to it religiously. Like the VH1 soul stage where Raphael was wearing the yellow suit, I could sing that thing verbatim. \u003c/span>\u003cspan style=\"font-weight: 400\">Being a sponge that I try to be, it bleeds into my music.\u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> Jay Ant and HBK Gang, what role did they play in developing, in helping you develop your craft?\u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> After I stopped playing football, I started to come out to L.A. more, and I met Jay. I literally came up as a fan like “Wass up bro.” Like, he called me the next day, apparently he had listened to, like, you know, the music I sent him and stuff I had out, he was like, “Bro, you need to come out to L.A. immediately.” He had a situation where he was writing music for other people, so he would bring me to all the sessions. Yeah, kind of just gave me my footing. He allowed me to get my footing in the industry out here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN: \u003c/b>\u003cspan style=\"font-weight: 400\">So thinking of your legacy and taking influence from the Bay and also your family, what is your legacy? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> I just want people to trust themselves. I just want to be an inspiration to people. Just show, like, if I could do that, I’m from Union City. There’s no big music artists, you know? It was really kind of all cultivated by the community that I was in.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like \u003ca href=\"https://www.instagram.com/larrenwong/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LarrenWong\u003c/a> can do a little bit of everything.\u003c/p>\n\u003cp>He’s a former linebacker who played football at James Logan High School and Northwestern University, before signing a professional contract with the Seattle Seahawks. He’s an avid reader, student of art history and a talented painter. He’s a rising R&B star who sings, writes and plays the guitar; earlier this year he dropped a quality album titled, \u003cem>\u003ca href=\"https://open.spotify.com/album/5M46rpIqXw0R1nfzXoQQMW\" target=\"_blank\" rel=\"noopener noreferrer\">Songs That I Hate To Sing\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13922178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-800x813.png\" alt=\"R&B singer LarrenWong raises his left hand as he stands on stage singing during a show. \" width=\"800\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-800x813.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-1020x1037.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-160x163.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM-768x781.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screenshot-2022-12-01-at-8.58.50-AM.png 1314w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R&B singer LarrenWong raises his left hand as he stands on stage singing during a show. \u003ccite>(Via LarrenWong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Raised in Union City where he was exposed to different cultures, competitive athletes and creative individuals, Larren says his earliest musical influence came from inside of own his home. His grandfather, Mr. B (Butler Wong), was a former member of the New York Philharmonic and one of Larren’s first musical instructors.\u003c/p>\n\u003cp>Larren took those lessons and built on them. He learned to play the guitar and write music. After stepping away from his football career, Larren jumped full-time into music and he’s been making waves ever since.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larrenwong - Mama | A COLORS SHOW\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/efjvYfhMpXc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>His work is spreading. Earlier this year Larren was invited to perform the song “Mama” off his latest project for the web-based musical performance series, \u003ca href=\"https://www.youtube.com/watch?v=efjvYfhMpXc\" target=\"_blank\" rel=\"noopener noreferrer\">COLORS Studios\u003c/a>.\u003c/p>\n\u003cp>And this week Larren sits down with the Rightnowish team to discuss it all.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8877001697&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3XTrw4j\">Read the transcript\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Larrenwong\u003c/strong>\u003c/p>\n\u003cp>\u003cb>PEN: \u003c/b>\u003cspan style=\"font-weight: 400\">This year, 2022, you dropped \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Songs That I Hate to Sing.\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> There’s a lot of like almost like baby-making music, a\u003c/span> lot of love and things that go along with love. The standout one of the standout tracks is “Mama”, a track about a significant other, a woman talking to her mother about their significant other or somebody who they’ve broken up with, is what I gathered from it.\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\">Shout out Drew Banga for doing the bass line on “Mama.” Shout out Ramone Criswell and my boy Lyrical Miracle, Camp Kid for helping me write the record and shout out uh, yeah, shout out the inspiration for that song. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> The inspiration! Come on man. You beating around the bush. That’s what I wanna know. You wrote this song about a real life situation? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> Yes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> Okay now we are talking.\u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> It feels dope that people like, resonate with it. You know, it feels dope that every time I challenge myself to just be honest, you know, and candid about how I’m feeling about certain things and to see how people grav- like how it resonates with people. It’s been pretty amazing to see, especially when you do it on the road.\u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> “Only Heaven Knows” , what was the thought process behind that song ? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> Women bro, women [laughs] is usually the inspiration for the music. But me and Solo were both talking to two girls at the time, at the end of college, they were both at pivotal moments, so we kinda wrote the record to that, speaking to them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shout out Kristen Holt. She’s the female voice on that song. Funny enough, she doesn’t record that often as a musical artist and put stuff out. She’s fire.\u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> Being self-taught, also having the family influence, how have artists in the Bay Area influenced your craft?\u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\">As I got into high school, I started to do more history and see that it’s like, oh, it’s not just hip hop. It’s actually like a crazy lineage of artistry out here, like Sly And The Family Stone, Tony! Toni! Toné!, Raphael Saadiq. Yeah and I listen, I study, I listen to it religiously. Like the VH1 soul stage where Raphael was wearing the yellow suit, I could sing that thing verbatim. \u003c/span>\u003cspan style=\"font-weight: 400\">Being a sponge that I try to be, it bleeds into my music.\u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN:\u003c/b>\u003cspan style=\"font-weight: 400\"> Jay Ant and HBK Gang, what role did they play in developing, in helping you develop your craft?\u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> After I stopped playing football, I started to come out to L.A. more, and I met Jay. I literally came up as a fan like “Wass up bro.” Like, he called me the next day, apparently he had listened to, like, you know, the music I sent him and stuff I had out, he was like, “Bro, you need to come out to L.A. immediately.” He had a situation where he was writing music for other people, so he would bring me to all the sessions. Yeah, kind of just gave me my footing. He allowed me to get my footing in the industry out here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>PEN: \u003c/b>\u003cspan style=\"font-weight: 400\">So thinking of your legacy and taking influence from the Bay and also your family, what is your legacy? \u003c/span>\u003c/p>\n\u003cp>\u003cb>LARREN: \u003c/b>\u003cspan style=\"font-weight: 400\"> I just want people to trust themselves. I just want to be an inspiration to people. Just show, like, if I could do that, I’m from Union City. There’s no big music artists, you know? It was really kind of all cultivated by the community that I was in.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Listening to Nilsson’s ‘The Point!’ With My Kid Helps Me Not Hate Everything",
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"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, in a very discouraging year for human rights and freedom of expression, editor Emma Silvers finds solace and hope in a Nixon-era TV special.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’ve always been skeptical of people who boast about their children’s taste in music. At best, it comes off like a stretch of the truth. (“Oh, your kindergartener likes Led Zeppelin? My 18-month-old’s first words were Sigur Rós, in a perfect Icelandic accent!”) At worst, there’s an icky, narcissistic undercurrent to it — a view of child-as-accessory — like we’re keeping score in some kind of demented Pitchfork “Best New Kid” competition.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13922205\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Emma.bio_.headshot.caption.jpg\" alt=\"\" width=\"160\" height=\"180\">And yet. My reading of this tendency changed when I actually had a baby, and came to understand one reason people get legitimately excited about their kids liking good stuff: because the vast majority of children’s entertainment makes parents want to \u003cem>stab themselves in the ears with a screwdriver\u003c/em>. And whatever your child likes, you, as a parent, are going to wind up watching or listening to it over and over again.\u003c/p>\n\u003cp>Enter \u003cem>The Point!.\u003c/em>\u003c/p>\n\u003cp>For the uninitiated, \u003cem>The Point!\u003c/em> refers to both the \u003ca href=\"https://www.npr.org/2020/02/15/806149966/50-years-of-the-point-harry-nilsson-s-wonderful-weird-musical-fable\">dreamy 1970 concept album\u003c/a> by singer-songwriter Harry Nilsson and its accompanying animated film (narrated by Dustin Hoffman, Ringo Starr or Alan Thicke, depending on which version your parents taped off TV). A classic hero’s journey, it tells the tale of a boy named Oblio who’s born “different” from everyone else, and he and his dog Arrow get cast out for it. In the so-called Pointless Forest, Oblio comes to understand the beauty in differences, then returns home to help everyone around him learn that lesson too. Along the way there’s an evil count, a doofy king, a giant pterodactyl and a jazzcat-riffing, Buddhist wisdom-dispensing pile of rocks.\u003c/p>\n\u003cp>For a Nixon-era primetime network TV special — it was a 1971 ABC Movie of the Week — it’s an exceptionally beautiful, quietly anti-authoritarian and \u003ca href=\"https://insheepsclothinghifi.com/harry-nilsson-the-point-1971/\">100% LSD-influenced\u003c/a> work of art.\u003c/p>\n\u003cfigure id=\"attachment_13922193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-532828927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-532828927-800x531.jpg\" alt=\"a black and white photo of a white man with a cigarette in his mouth at a piano\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Nilsson at the piano, 1972. \u003ccite>(Stan Meagher/Daily Express/Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t put too much thought into it \u003ca href=\"https://twitter.com/emmaruthless/status/1498134265258668033\">when I first showed Miles \u003cem>The Point!\u003c/em> \u003c/a>(though I knew that it wasn’t \u003cem>Cars\u003c/em> again, nor, god forbid, \u003cem>Cars 2\u003c/em>). I’ve always loved Nilsson’s music, and I was pleased to see that the 50-year-old, hand-drawn animation held my 3-year-old’s attention just as well as the frenetic, computer-generated kids’ shows that currently populate any streaming service. What I did not expect, until he began to request it — repeatedly — is the catharsis it would provide over the course of a strange and at times infuriating year.\u003c/p>\n\u003cp>But there it was, on in the car, in the living room; too weird to be a lullaby, too soothing to be anything else; an IV drip insisting on the existence of \u003cem>meaning\u003c/em>, even on the days it was really hard to find. Warmly but firmly, it kept my nihilism in check: After \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab died\u003c/a>, I listened to “Blazing Arrow” (built around a buoyant sample of Nilsson’s “Me and My Arrow”) and marveled at the beauty of two very different lyricists leaving behind such a wildly creative conversation. The week Roe v. Wade was overturned, and I became an expert at crying in efficient spurts before getting back to the task at hand, Nilsson’s “Think About Your Troubles” got me to see teardrops in a sort of pretty, conceptual way, reminded me they were normal and necessary. It helped to zoom out, even just momentarily, and think about cycles: of water systems, of sorrow, of history.\u003c/p>\n\u003cp>Miles sings this song to himself in the bath these days (“think about the bubbles!”), and no matter what else I am currently screwing up on as a parent, it makes me feel like I’ve done one thing right.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=guqFqcV4Po0\u003c/p>\n\u003cp>Lately, I find myself thinking about \u003cem>The Point!\u003c/em> when politicians say dangerous, moronic things about queer youth: I think of the old, evil count who’s terrified of change and of losing power, and the complacent king who tries to keep to the letter of law regardless of the necessary shift happening before his eyes.\u003c/p>\n\u003cp>At the end of the story, Oblio helps the townspeople realize that rote conformity shouldn’t be the goal; that everyone has value and deserves respect; that empathy, exploration and new perspectives all matter. He and Arrow are welcomed home, the crowd cheers and that’s pretty much it.\u003c/p>\n\u003cp>Life isn’t that simple, of course. But the old, evil counts are real, and it is true that they cannot keep their vise grip on the rest of us forever. The kids of our world have seen the cracks in the old order, and they’re building a new one — they will tell you about what matters there if you’re willing to listen.\u003c/p>\n\u003cp>I guess I’ve come to accept my role as a mostly useless townsperson in this analogy. But when I’m in the car, singing along with a preschooler to a half-century-old album that feels relevant as ever, I briefly have enough faith in humanity to want to grab a hammer too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "In which a whimsical, LSD-influenced concept album from 1970 proves surprisingly successful at staving off nihilism in 2022.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year. Here, in a very discouraging year for human rights and freedom of expression, editor Emma Silvers finds solace and hope in a Nixon-era TV special.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’ve always been skeptical of people who boast about their children’s taste in music. At best, it comes off like a stretch of the truth. (“Oh, your kindergartener likes Led Zeppelin? My 18-month-old’s first words were Sigur Rós, in a perfect Icelandic accent!”) At worst, there’s an icky, narcissistic undercurrent to it — a view of child-as-accessory — like we’re keeping score in some kind of demented Pitchfork “Best New Kid” competition.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13922205\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Emma.bio_.headshot.caption.jpg\" alt=\"\" width=\"160\" height=\"180\">And yet. My reading of this tendency changed when I actually had a baby, and came to understand one reason people get legitimately excited about their kids liking good stuff: because the vast majority of children’s entertainment makes parents want to \u003cem>stab themselves in the ears with a screwdriver\u003c/em>. And whatever your child likes, you, as a parent, are going to wind up watching or listening to it over and over again.\u003c/p>\n\u003cp>Enter \u003cem>The Point!.\u003c/em>\u003c/p>\n\u003cp>For the uninitiated, \u003cem>The Point!\u003c/em> refers to both the \u003ca href=\"https://www.npr.org/2020/02/15/806149966/50-years-of-the-point-harry-nilsson-s-wonderful-weird-musical-fable\">dreamy 1970 concept album\u003c/a> by singer-songwriter Harry Nilsson and its accompanying animated film (narrated by Dustin Hoffman, Ringo Starr or Alan Thicke, depending on which version your parents taped off TV). A classic hero’s journey, it tells the tale of a boy named Oblio who’s born “different” from everyone else, and he and his dog Arrow get cast out for it. In the so-called Pointless Forest, Oblio comes to understand the beauty in differences, then returns home to help everyone around him learn that lesson too. Along the way there’s an evil count, a doofy king, a giant pterodactyl and a jazzcat-riffing, Buddhist wisdom-dispensing pile of rocks.\u003c/p>\n\u003cp>For a Nixon-era primetime network TV special — it was a 1971 ABC Movie of the Week — it’s an exceptionally beautiful, quietly anti-authoritarian and \u003ca href=\"https://insheepsclothinghifi.com/harry-nilsson-the-point-1971/\">100% LSD-influenced\u003c/a> work of art.\u003c/p>\n\u003cfigure id=\"attachment_13922193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-532828927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-532828927-800x531.jpg\" alt=\"a black and white photo of a white man with a cigarette in his mouth at a piano\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-532828927.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Nilsson at the piano, 1972. \u003ccite>(Stan Meagher/Daily Express/Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t put too much thought into it \u003ca href=\"https://twitter.com/emmaruthless/status/1498134265258668033\">when I first showed Miles \u003cem>The Point!\u003c/em> \u003c/a>(though I knew that it wasn’t \u003cem>Cars\u003c/em> again, nor, god forbid, \u003cem>Cars 2\u003c/em>). I’ve always loved Nilsson’s music, and I was pleased to see that the 50-year-old, hand-drawn animation held my 3-year-old’s attention just as well as the frenetic, computer-generated kids’ shows that currently populate any streaming service. What I did not expect, until he began to request it — repeatedly — is the catharsis it would provide over the course of a strange and at times infuriating year.\u003c/p>\n\u003cp>But there it was, on in the car, in the living room; too weird to be a lullaby, too soothing to be anything else; an IV drip insisting on the existence of \u003cem>meaning\u003c/em>, even on the days it was really hard to find. Warmly but firmly, it kept my nihilism in check: After \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab died\u003c/a>, I listened to “Blazing Arrow” (built around a buoyant sample of Nilsson’s “Me and My Arrow”) and marveled at the beauty of two very different lyricists leaving behind such a wildly creative conversation. The week Roe v. Wade was overturned, and I became an expert at crying in efficient spurts before getting back to the task at hand, Nilsson’s “Think About Your Troubles” got me to see teardrops in a sort of pretty, conceptual way, reminded me they were normal and necessary. It helped to zoom out, even just momentarily, and think about cycles: of water systems, of sorrow, of history.\u003c/p>\n\u003cp>Miles sings this song to himself in the bath these days (“think about the bubbles!”), and no matter what else I am currently screwing up on as a parent, it makes me feel like I’ve done one thing right.\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/guqFqcV4Po0'\n title='//www.youtube.com/embed/guqFqcV4Po0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lately, I find myself thinking about \u003cem>The Point!\u003c/em> when politicians say dangerous, moronic things about queer youth: I think of the old, evil count who’s terrified of change and of losing power, and the complacent king who tries to keep to the letter of law regardless of the necessary shift happening before his eyes.\u003c/p>\n\u003cp>At the end of the story, Oblio helps the townspeople realize that rote conformity shouldn’t be the goal; that everyone has value and deserves respect; that empathy, exploration and new perspectives all matter. He and Arrow are welcomed home, the crowd cheers and that’s pretty much it.\u003c/p>\n\u003cp>Life isn’t that simple, of course. But the old, evil counts are real, and it is true that they cannot keep their vise grip on the rest of us forever. The kids of our world have seen the cracks in the old order, and they’re building a new one — they will tell you about what matters there if you’re willing to listen.\u003c/p>\n\u003cp>I guess I’ve come to accept my role as a mostly useless townsperson in this analogy. But when I’m in the car, singing along with a preschooler to a half-century-old album that feels relevant as ever, I briefly have enough faith in humanity to want to grab a hammer too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "dolly-partons-mountain-magic-christmas-special-nbc-miley-billy-ray-cyrus",
"title": "‘Dolly Parton’s Mountain Magic Christmas’ Is Here to Melt Your Brain",
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"content": "\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ooOAxj7mK84\u003c/p>\n\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\u003c/p>\n\u003cp>[aside postid='arts_13889581']14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>[aside postid='pop_14182']26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>[aside postid='arts_13889748']Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Em8tdr2UBQ0\u003c/p>\n\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>[aside postid='arts_13921477']1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Dolly Parton + Jesus + magic country stars + gratuitous family members + a show within a movie = Absolutely unhinged TV.",
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"title": "‘Dolly Parton’s Magic Mountain Christmas’ By-The-Minute Analysis | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\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/ooOAxj7mK84'\n title='//www.youtube.com/embed/ooOAxj7mK84'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\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/Em8tdr2UBQ0'\n title='//www.youtube.com/embed/Em8tdr2UBQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dolly Parton’s Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79",
"headTitle": "Fleetwood Mac Singer-Songwriter Christine McVie Dies at 79 | KQED",
"content": "\u003cp>Christine McVie, the British-born \u003ca href=\"https://www.npr.org/artists/102442872/fleetwood-mac\">Fleetwood Mac\u003c/a> vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as “You Make Loving Fun,” “Everywhere” and “Don’t Stop,” died Wednesday at age 79.\u003c/p>\n\u003cp>Her death was announced on the band’s social media accounts. No cause of death or other details were immediately provided, but a family statement said she “passed away peacefully at hospital this morning” with family around her after a “short illness.”\u003c/p>\n\u003cp>“She was truly one-of-a-kind, special and talented beyond measure,” the band’s statement reads in part.\u003c/p>\n\u003cfigure id=\"attachment_13922131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg\" alt=\"a black and white photo of a five-person band in the seventies\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-2048x1445.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1920x1355.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of the rock group Fleetwood Mac, from left, Lindsey Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie pose with their Album of the Year Grammy Award for ‘Rumours’ in Los Angeles, Feb. 23, 1978. Christine McVie, the soulful British musician who sang lead on many of Fleetwood Mac’s biggest hits, has died at 79. The band announced her death on social media Wednesday. \u003ccite>(AP Photo/Richard Drew/File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McVie was a steady presence and personality in a band known for its frequent lineup changes and volatile personalities — notably fellow singer-songwriters \u003ca href=\"https://www.npr.org/2020/11/04/930448701/stevie-nicks-on-tiktok-tom-petty-and-claiming-whats-yours\">Stevie Nicks \u003c/a>and \u003ca href=\"https://www.npr.org/2011/09/17/140513778/lindsey-buckingham-a-time-to-every-purpose\">Lindsey Buckingham\u003c/a>.\u003c/p>\n\u003cp>During its peak commercial years, from 1975-80, the band sold tens of millions of records and was an ongoing source of fascination for fans as it transformed personal battles into melodic, compelling songs. McVie herself had been married to bassist John McVie, and their breakup — along with the split of Nicks and Buckingham — was famously documented on the 1977 release \u003ca href=\"https://www.npr.org/sections/allsongs/2013/01/29/170552631/why-ive-never-liked-fleetwood-macs-rumours\">“Rumours,”\u003c/a> among the bestselling albums of all time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fleetwood Mac, co-founded by drummer Mick Fleetwood in 1967, was inducted into the Rock and Roll Hall of Fame in 1998. The group’s many other hit singles included “Dreams,” “Go Your Own Way” and “Little Lies.”\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=Fleetwood+Mac+singer-songwriter+Christine+McVie+dies+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christine McVie, the British-born \u003ca href=\"https://www.npr.org/artists/102442872/fleetwood-mac\">Fleetwood Mac\u003c/a> vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as “You Make Loving Fun,” “Everywhere” and “Don’t Stop,” died Wednesday at age 79.\u003c/p>\n\u003cp>Her death was announced on the band’s social media accounts. No cause of death or other details were immediately provided, but a family statement said she “passed away peacefully at hospital this morning” with family around her after a “short illness.”\u003c/p>\n\u003cp>“She was truly one-of-a-kind, special and talented beyond measure,” the band’s statement reads in part.\u003c/p>\n\u003cfigure id=\"attachment_13922131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg\" alt=\"a black and white photo of a five-person band in the seventies\" width=\"800\" height=\"565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1536x1084.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-2048x1445.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/ap22334719466144_custom-891063e1a8b88f4b49bb371a048e7450175642c3-1920x1355.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of the rock group Fleetwood Mac, from left, Lindsey Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie pose with their Album of the Year Grammy Award for ‘Rumours’ in Los Angeles, Feb. 23, 1978. Christine McVie, the soulful British musician who sang lead on many of Fleetwood Mac’s biggest hits, has died at 79. The band announced her death on social media Wednesday. \u003ccite>(AP Photo/Richard Drew/File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McVie was a steady presence and personality in a band known for its frequent lineup changes and volatile personalities — notably fellow singer-songwriters \u003ca href=\"https://www.npr.org/2020/11/04/930448701/stevie-nicks-on-tiktok-tom-petty-and-claiming-whats-yours\">Stevie Nicks \u003c/a>and \u003ca href=\"https://www.npr.org/2011/09/17/140513778/lindsey-buckingham-a-time-to-every-purpose\">Lindsey Buckingham\u003c/a>.\u003c/p>\n\u003cp>During its peak commercial years, from 1975-80, the band sold tens of millions of records and was an ongoing source of fascination for fans as it transformed personal battles into melodic, compelling songs. McVie herself had been married to bassist John McVie, and their breakup — along with the split of Nicks and Buckingham — was famously documented on the 1977 release \u003ca href=\"https://www.npr.org/sections/allsongs/2013/01/29/170552631/why-ive-never-liked-fleetwood-macs-rumours\">“Rumours,”\u003c/a> among the bestselling albums of all time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fleetwood Mac, co-founded by drummer Mick Fleetwood in 1967, was inducted into the Rock and Roll Hall of Fame in 1998. The group’s many other hit singles included “Dreams,” “Go Your Own Way” and “Little Lies.”\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=Fleetwood+Mac+singer-songwriter+Christine+McVie+dies+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ONRf7h3Mdk&t=1s\u003c/p>\n\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ob7vObnFUJc\u003c/p>\n\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921576']According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PivWY9wn5ps\u003c/p>\n\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>[aside postid='arts_13921777']In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\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/6ONRf7h3Mdk'\n title='//www.youtube.com/embed/6ONRf7h3Mdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\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/Ob7vObnFUJc'\n title='//www.youtube.com/embed/Ob7vObnFUJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\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/PivWY9wn5ps'\n title='//www.youtube.com/embed/PivWY9wn5ps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Requiem Sinfónica’ Honors Ghost Ship Victims with Music and Hope",
"headTitle": "‘Requiem Sinfónica’ Honors Ghost Ship Victims with Music and Hope | KQED",
"content": "\u003cp>In the late hours of Dec. 2, 2016, a fire swept through the Ghost Ship warehouse in Oakland and \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">claimed the lives of 36 people\u003c/a> — a loss that left friends, families and the Oakland artist community confused and hollow. Angry and disheartened at the lack of answers and accountability following the tragedy, flutist and composer \u003ca href=\"https://artietrodriguez.wixsite.com/artierodriguezflute\">Arturo Rodriguez\u003c/a> began developing \u003cem>Requiem Sinfónica: A Requiem Without Words\u003c/em>, a commemorative nine-movement orchestral suite that \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">debuts in full on Saturday, Dec. 3\u003c/a>, at the Malonga Casquelourd Center in Oakland.\u003c/p>\n\u003cp>For Rodriguez, the process of writing the requiem mirrored his restlessness about the tragedy. Melodies and themes floated in and out of his head. Unrefined echoes of cello and lower bass notes appeared like shadows, looming overhead as he tried to jot them all down. As Rodriguez contemplated the form of the musical requiem, where the journey of souls toward paradise is traditionally explored through lyricism, he opted to forego a choir and focus on the instrumentation.\u003c/p>\n\u003cp>[aside link1='https://www.kqed.org/ghostshipmemorial,Honoring Those Lost to the Ghost Ship Fire' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/OaklandFireMemorial-11x17.jpg']“My work is supposed to represent the silencing of voices. I don’t know what their last words were,” Rodriguez said. “I can only imagine what they were thinking to themselves. So in a way, this music is their thoughts in musical form: it’s their acceptance, their trauma, their anger, hate, every emotion.”\u003c/p>\n\u003cp>With the support of fellow members from \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra Collective\u003c/a>, a nonprofit that hosts open music-reading sessions to make orchestral music and performance more accessible, Rodriguez hopes to highlight the sense of hope and family he’s gained from connecting with musicians and family members personally impacted by the tragedy.\u003c/p>\n\u003cp>“It’s so beautifully humanizing, the way that they love each other and look out for each other. I think, because the music is so involved, I became involved,” said Rodriguez. “It was an opportunity to really become invested in something that was not myself and my own musical exploration. It was also like, ‘What do I want to tell the families with this music? How do I want to express my gratitude to them?’”\u003c/p>\n\u003cfigure id=\"attachment_13922067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg\" alt=\"A room of symphonic musicians plays with music stands and instruments\" width=\"800\" height=\"411\" class=\"size-medium wp-image-13922067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1020x523.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-768x394.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1536x788.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awesöme Orchestra members rehearse ‘Requiem Sinfónica.’\u003cbr> \u003ccite>(Courtesy Arturo Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through nine movements, Rodriguez layers various percussion, brass, woodwind and strings into lush musical scenes that depict coming to terms with death, and a journey toward peace. David Möschler, Awesöme Orchestra artistic director and Requiem Sinfónica conductor, explains that many of the musicians in the 65-piece ensemble have a personal connection to the fire, and have been rehearsing arduously to perfect Rodriguez’s complex composition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The music requires a lot of endurance from the players because of its length. Because of the wide range of eclectic, stylistic influences, the music can switch really quickly from one mood to another,” said Möschler. “Any of the players will tell you, it’s not a piece to show up and just sort of sightread. It really requires focus and knowing how it goes, and the style and the sound.”\u003c/p>\n\u003cp>[aside postID='arts_13793868']Rodriguez spent over three years revising and workshopping the 90-minute requiem, with the entire process spanning six years. And as the various musical elements shifted, his intentions evolved.\u003c/p>\n\u003cp>“I’m starting to look at it [Requiem Sinfónica] as an ask to our political leaders and social leaders to allow us to have more of a voice,” said Rodriguez. “What does a safe artist’s space look like? How do we take care of the people that essentially create the culture that life is based on? These are questions that I want answered.” \u003c/p>\n\u003cp>On Saturday, the concert hall will fill with the low hum and vibrations of tuning instruments. Swirling with these sounds will be anticipation, grief, celebration and hope — and as family and friends hold one another, their loved ones will continue to live on in the music all around them.\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>‘Requiem Sinfónica: A Requiem Without Words’ premieres Saturday, Dec. 3, at the Malonga Casquelord Center for the Arts in Oakland. Attendance is free. In-person seats are limited; a \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe2h0-cz_kL9WySNOpDadnFsyRWHUdW_J5rOdWlt-aoLjWhAg/viewform\">livestream link is available\u003c/a> upon RSVP. \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the late hours of Dec. 2, 2016, a fire swept through the Ghost Ship warehouse in Oakland and \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">claimed the lives of 36 people\u003c/a> — a loss that left friends, families and the Oakland artist community confused and hollow. Angry and disheartened at the lack of answers and accountability following the tragedy, flutist and composer \u003ca href=\"https://artietrodriguez.wixsite.com/artierodriguezflute\">Arturo Rodriguez\u003c/a> began developing \u003cem>Requiem Sinfónica: A Requiem Without Words\u003c/em>, a commemorative nine-movement orchestral suite that \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">debuts in full on Saturday, Dec. 3\u003c/a>, at the Malonga Casquelourd Center in Oakland.\u003c/p>\n\u003cp>For Rodriguez, the process of writing the requiem mirrored his restlessness about the tragedy. Melodies and themes floated in and out of his head. Unrefined echoes of cello and lower bass notes appeared like shadows, looming overhead as he tried to jot them all down. As Rodriguez contemplated the form of the musical requiem, where the journey of souls toward paradise is traditionally explored through lyricism, he opted to forego a choir and focus on the instrumentation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“My work is supposed to represent the silencing of voices. I don’t know what their last words were,” Rodriguez said. “I can only imagine what they were thinking to themselves. So in a way, this music is their thoughts in musical form: it’s their acceptance, their trauma, their anger, hate, every emotion.”\u003c/p>\n\u003cp>With the support of fellow members from \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra Collective\u003c/a>, a nonprofit that hosts open music-reading sessions to make orchestral music and performance more accessible, Rodriguez hopes to highlight the sense of hope and family he’s gained from connecting with musicians and family members personally impacted by the tragedy.\u003c/p>\n\u003cp>“It’s so beautifully humanizing, the way that they love each other and look out for each other. I think, because the music is so involved, I became involved,” said Rodriguez. “It was an opportunity to really become invested in something that was not myself and my own musical exploration. It was also like, ‘What do I want to tell the families with this music? How do I want to express my gratitude to them?’”\u003c/p>\n\u003cfigure id=\"attachment_13922067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg\" alt=\"A room of symphonic musicians plays with music stands and instruments\" width=\"800\" height=\"411\" class=\"size-medium wp-image-13922067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1020x523.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-768x394.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1536x788.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awesöme Orchestra members rehearse ‘Requiem Sinfónica.’\u003cbr> \u003ccite>(Courtesy Arturo Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through nine movements, Rodriguez layers various percussion, brass, woodwind and strings into lush musical scenes that depict coming to terms with death, and a journey toward peace. David Möschler, Awesöme Orchestra artistic director and Requiem Sinfónica conductor, explains that many of the musicians in the 65-piece ensemble have a personal connection to the fire, and have been rehearsing arduously to perfect Rodriguez’s complex composition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The music requires a lot of endurance from the players because of its length. Because of the wide range of eclectic, stylistic influences, the music can switch really quickly from one mood to another,” said Möschler. “Any of the players will tell you, it’s not a piece to show up and just sort of sightread. It really requires focus and knowing how it goes, and the style and the sound.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rodriguez spent over three years revising and workshopping the 90-minute requiem, with the entire process spanning six years. And as the various musical elements shifted, his intentions evolved.\u003c/p>\n\u003cp>“I’m starting to look at it [Requiem Sinfónica] as an ask to our political leaders and social leaders to allow us to have more of a voice,” said Rodriguez. “What does a safe artist’s space look like? How do we take care of the people that essentially create the culture that life is based on? These are questions that I want answered.” \u003c/p>\n\u003cp>On Saturday, the concert hall will fill with the low hum and vibrations of tuning instruments. Swirling with these sounds will be anticipation, grief, celebration and hope — and as family and friends hold one another, their loved ones will continue to live on in the music all around them.\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>‘Requiem Sinfónica: A Requiem Without Words’ premieres Saturday, Dec. 3, at the Malonga Casquelord Center for the Arts in Oakland. Attendance is free. In-person seats are limited; a \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe2h0-cz_kL9WySNOpDadnFsyRWHUdW_J5rOdWlt-aoLjWhAg/viewform\">livestream link is available\u003c/a> upon RSVP. \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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