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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16152990/loretta-lynn\">Loretta Lynn\u003c/a>, the country music icon who brought unparalleled candor about the domestic realities of working-class women to country songwriting — and taught those who came after her to speak their minds, too – died today at her home in Tennessee. She was 90 years old.\u003c/p>\n\u003cp>“Our precious mom, Loretta Lynn, passed away peacefully this morning, in her sleep at home at her beloved ranch in Hurricane Mills,” her family said in a statement. \u003c/p>\n\u003cp>“The story of Loretta Lynn’s life is unlike any other, yet she drew from that story a body of work that resonates with people who might never fully understand her bleak and remote childhood, her hardscrabble early days, or her adventures as a famous and beloved celebrity,” Kyle Young, CEO of the Country Music Hall of Fame and Museum, said in a statement. “In a music business that is often concerned with aspiration and fantasy, Loretta insisted on sharing her own brash and brave truth.”\u003c/p>\n\u003cp>Born Loretta Webb, the singer was raised in a remote coal mining community in the Appalachian Mountains of eastern Kentucky. One of the biggest songs of her career, “Coal Miner’s Daughter,” proudly recounted her background.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f9eHp7JJgq8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lynn was barely a teenager when she started a family of her own with a 21-year-old former soldier, Oliver Lynn, better known as “Mooney” or “Doolittle.” They wasted no time having the first four of their six children, and migrated to Washington state. It was there that her husband heard her bedtime lullabies and pushed her to start performing publicly. In a 2010 interview with \u003cem>Fresh Air\u003c/em>, she insisted she wouldn’t have done it otherwise: “I wouldn’t get out in front of people. I was really bashful and I would have never sang in front of anybody.”\u003c/p>\n\u003cp>Once her husband started scrounging up paying gigs for her, Lynn taught herself to write songs, says country music historian and journalist Robert Oermann.\u003c/p>\n\u003cp>“She got a copy of \u003cem>Country Song Roundup\u003c/em>,” Oermann says – a magazine that printed country lyrics and stories about the musicians. “She would read the country lyrics in the magazine, and she’d go, ‘Well that’s nothing. I can do that.’ And she could, and had been.”\u003c/p>\n\u003cp>Lynn and her husband drove around to radio stations, where she would introduce herself to the DJs and try to charm them into spinning her record. These efforts had begun to get Lynn noticed when the couple landed in Nashville in 1960. Artists like Jim Reeves and \u003ca href=\"https://www.npr.org/artists/15396529/patsy-cline\">Patsy Cline\u003c/a> — who became Lynn’s mentor — were having a lot of success with a lush, pop-sweetened production style known as the Nashville Sound. Lynn worked with Cline’s producer, Owen Bradley, but hung onto her unsoftened twang.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E2pd1l0i0A8\u003c/p>\n\u003cp>Country songs had often portrayed hardship from male perspectives, but Lynn wasn’t afraid to spell out the indignities endured in her marriage, or the double standards she saw other women facing when it came to divorce, pregnancy and birth control. She found that Nashville wasn’t accustomed to that kind of frankness.\u003c/p>\n\u003cp>Fellow eastern Kentucky songwriter \u003ca href=\"https://www.npr.org/artists/652196097/angaleena-presley\">Angaleena Presley\u003c/a> was raised on her mother’s Loretta Lynn records, and recognizes what they must have meant to women of earlier generations.\u003c/p>\n\u003cp>“I’m positive that there probably were many, many women in that time, especially in the country,” she says, “who thought, ‘I’m not really allowed to say anything if my husband wants to drink. He works all day. He deserves to drink at night and come home and do what he wants. And I’ll clean the house and raise the kids.’ And [Lynn] said, ‘Nope. It’s not OK, and it’s OK for you to say it’s not OK.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OBnkAkmLtaw\u003c/p>\n\u003cp>Presley says Lynn’s perspective “contributed a lot to the feminist movement,” especially in rural parts of the country. “I feel like she was the voice,” Presley says, “even if she never spoke out actively as a feminist, her songs certainly did.”\u003c/p>\n\u003cp>No less than 51 of those songs \u003ca href=\"https://www.billboard.com/artist/loretta-lynn/\">became\u003c/a> top 10 country hits on the Billboard charts. In 1972, Lynn was the first woman named Entertainer of the Year by the Country Music Association. She would later be inducted into the Country Music Hall of Fame, in 1988, and the Songwriters Hall of Fame in 2008. She was also recognized with Kennedy Center Honors in 2003 and the Presidential Medal of Freedom in 2013.\u003c/p>\n\u003cp>Though their relationship was complicated, Lynn and Doolittle remained married up until his death in 1996. (Lynn also made sure fans knew that her long-lasting musical partnership with Conway Twitty was all business.) Lynn continued performing and recording into the new millennium, attracting younger audiences through her collaboration with \u003ca href=\"https://www.npr.org/artists/17089122/jack-white\">Jack White\u003c/a>.\u003c/p>\n\u003cp>But it was essential to Lynn’s enduring appeal that she never lost touch with her identity as a simultaneously modern and down-to-earth country woman who could communicate that to crowds throughout her career.\u003c/p>\n\u003cp>“This idea that I might be up here on stage singing this song, but I’m not better than you. I \u003cem>am\u003c/em> you,” journalist Oermann says. “That’s kind of the message. That kind of humility is a really powerful and good thing.”\u003c/p>\n\u003cp>That approach always informed her songwriting; Lynn’s gutsiness comes through just as clearly today in the music she left behind. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like real life, because that’s what we’re doing today,” Lynn \u003ca href=\"https://www.npr.org/2004/05/03/1848263/loretta-lynns-van-lear-rose-with-jack-white\">told \u003cem>All Things Considered\u003c/em>\u003c/a> in 2004. “And I think that’s why people bought my records, because they’re living in this world. And so am I. So I see what’s going on, and I grab it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Loretta+Lynn%2C+country+music+icon%2C+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/16152990/loretta-lynn\">Loretta Lynn\u003c/a>, the country music icon who brought unparalleled candor about the domestic realities of working-class women to country songwriting — and taught those who came after her to speak their minds, too – died today at her home in Tennessee. She was 90 years old.\u003c/p>\n\u003cp>“Our precious mom, Loretta Lynn, passed away peacefully this morning, in her sleep at home at her beloved ranch in Hurricane Mills,” her family said in a statement. \u003c/p>\n\u003cp>“The story of Loretta Lynn’s life is unlike any other, yet she drew from that story a body of work that resonates with people who might never fully understand her bleak and remote childhood, her hardscrabble early days, or her adventures as a famous and beloved celebrity,” Kyle Young, CEO of the Country Music Hall of Fame and Museum, said in a statement. “In a music business that is often concerned with aspiration and fantasy, Loretta insisted on sharing her own brash and brave truth.”\u003c/p>\n\u003cp>Born Loretta Webb, the singer was raised in a remote coal mining community in the Appalachian Mountains of eastern Kentucky. One of the biggest songs of her career, “Coal Miner’s Daughter,” proudly recounted her background.\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/f9eHp7JJgq8'\n title='//www.youtube.com/embed/f9eHp7JJgq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lynn was barely a teenager when she started a family of her own with a 21-year-old former soldier, Oliver Lynn, better known as “Mooney” or “Doolittle.” They wasted no time having the first four of their six children, and migrated to Washington state. It was there that her husband heard her bedtime lullabies and pushed her to start performing publicly. In a 2010 interview with \u003cem>Fresh Air\u003c/em>, she insisted she wouldn’t have done it otherwise: “I wouldn’t get out in front of people. I was really bashful and I would have never sang in front of anybody.”\u003c/p>\n\u003cp>Once her husband started scrounging up paying gigs for her, Lynn taught herself to write songs, says country music historian and journalist Robert Oermann.\u003c/p>\n\u003cp>“She got a copy of \u003cem>Country Song Roundup\u003c/em>,” Oermann says – a magazine that printed country lyrics and stories about the musicians. “She would read the country lyrics in the magazine, and she’d go, ‘Well that’s nothing. I can do that.’ And she could, and had been.”\u003c/p>\n\u003cp>Lynn and her husband drove around to radio stations, where she would introduce herself to the DJs and try to charm them into spinning her record. These efforts had begun to get Lynn noticed when the couple landed in Nashville in 1960. Artists like Jim Reeves and \u003ca href=\"https://www.npr.org/artists/15396529/patsy-cline\">Patsy Cline\u003c/a> — who became Lynn’s mentor — were having a lot of success with a lush, pop-sweetened production style known as the Nashville Sound. Lynn worked with Cline’s producer, Owen Bradley, but hung onto her unsoftened twang.\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/E2pd1l0i0A8'\n title='//www.youtube.com/embed/E2pd1l0i0A8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Country songs had often portrayed hardship from male perspectives, but Lynn wasn’t afraid to spell out the indignities endured in her marriage, or the double standards she saw other women facing when it came to divorce, pregnancy and birth control. She found that Nashville wasn’t accustomed to that kind of frankness.\u003c/p>\n\u003cp>Fellow eastern Kentucky songwriter \u003ca href=\"https://www.npr.org/artists/652196097/angaleena-presley\">Angaleena Presley\u003c/a> was raised on her mother’s Loretta Lynn records, and recognizes what they must have meant to women of earlier generations.\u003c/p>\n\u003cp>“I’m positive that there probably were many, many women in that time, especially in the country,” she says, “who thought, ‘I’m not really allowed to say anything if my husband wants to drink. He works all day. He deserves to drink at night and come home and do what he wants. And I’ll clean the house and raise the kids.’ And [Lynn] said, ‘Nope. It’s not OK, and it’s OK for you to say it’s not OK.'”\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/OBnkAkmLtaw'\n title='//www.youtube.com/embed/OBnkAkmLtaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Presley says Lynn’s perspective “contributed a lot to the feminist movement,” especially in rural parts of the country. “I feel like she was the voice,” Presley says, “even if she never spoke out actively as a feminist, her songs certainly did.”\u003c/p>\n\u003cp>No less than 51 of those songs \u003ca href=\"https://www.billboard.com/artist/loretta-lynn/\">became\u003c/a> top 10 country hits on the Billboard charts. In 1972, Lynn was the first woman named Entertainer of the Year by the Country Music Association. She would later be inducted into the Country Music Hall of Fame, in 1988, and the Songwriters Hall of Fame in 2008. She was also recognized with Kennedy Center Honors in 2003 and the Presidential Medal of Freedom in 2013.\u003c/p>\n\u003cp>Though their relationship was complicated, Lynn and Doolittle remained married up until his death in 1996. (Lynn also made sure fans knew that her long-lasting musical partnership with Conway Twitty was all business.) Lynn continued performing and recording into the new millennium, attracting younger audiences through her collaboration with \u003ca href=\"https://www.npr.org/artists/17089122/jack-white\">Jack White\u003c/a>.\u003c/p>\n\u003cp>But it was essential to Lynn’s enduring appeal that she never lost touch with her identity as a simultaneously modern and down-to-earth country woman who could communicate that to crowds throughout her career.\u003c/p>\n\u003cp>“This idea that I might be up here on stage singing this song, but I’m not better than you. I \u003cem>am\u003c/em> you,” journalist Oermann says. “That’s kind of the message. That kind of humility is a really powerful and good thing.”\u003c/p>\n\u003cp>That approach always informed her songwriting; Lynn’s gutsiness comes through just as clearly today in the music she left behind. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like real life, because that’s what we’re doing today,” Lynn \u003ca href=\"https://www.npr.org/2004/05/03/1848263/loretta-lynns-van-lear-rose-with-jack-white\">told \u003cem>All Things Considered\u003c/em>\u003c/a> in 2004. “And I think that’s why people bought my records, because they’re living in this world. And so am I. So I see what’s going on, and I grab it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Loretta+Lynn%2C+country+music+icon%2C+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Where are the Black Musicians in the Country's Largest Orchestras?",
"headTitle": "Where are the Black Musicians in the Country’s Largest Orchestras? | KQED",
"content": "\u003cp>In 2014, the League of American Orchestras, a service organization representing professional and amateur symphony orchestras around the United States, \u003ca href=\"https://americanorchestras.org/racial-ethnic-and-gender-diversity-in-the-orchestra-field/\" target=\"_blank\" rel=\"noopener noreferrer\">published a study on diversity\u003c/a> and found that only 1.4% of orchestra musicians were Black.\u003c/p>\n\u003cp>In 2022, it’s hard to say if that figure has gotten better or worse, said Jennifer Arnold, a co-founder of the Black Orchestral Network. Arnold spent 15 seasons playing viola with the Oregon Symphony and now is director of artistic planning and operations for the Richmond Symphony.\u003c/p>\n\u003cfigure id=\"attachment_13919822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg\" alt=\"A Black woman wearing pink lipstick and floral blouse smiles for the camera.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Arnold of the Black Orchestral Network is calling for more data—so they can figure out how many musicians in orchestras are Black. \u003ccite>(Jennifer Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a real need to actually be transparent about what’s happening in the industry, in terms of Black people,” Arnold said. “We do not know how many Black people are in orchestras. And I say that as a representative of Black Orchestral Network. One of our calls is, let’s start collecting data. Let’s find out, have we done better than the 1.4% number that is going out there? That 1.4% is kind of based on well, “I see a Black person on that stage in that orchestra.” That’s not data.”\u003c/p>\n\u003cp>[aside postid='arts_13909289']In harpist Ann Hobson Pilot’s experience, Black musicians in orchestras can feel isolated. She told a podcast produced by the Black Orchestral Network that when she joined the Boston Symphony Orchestra in 1969, she was its very first Black musician.\u003c/p>\n\u003cp>“When I looked around the orchestra, I didn’t see anyone in there that looked like me,” she said. “And it was another 20 years before another Black player was hired, which is Owen Young, the wonderful cellist. And when I left 20 years later, Owen Young became the only black player in the BSO.” He still is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.blackorchestralnetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Orchestral Network\u003c/a> arose out of ad hoc Zoom gatherings during the pandemic and after the George Floyd and Black Lives Matter protests. But the participants decided to make it a formal organization. Alex Laing, who plays clarinet with the Phoenix Symphony, said they wanted to become “an advocacy group, a group to speak to the experience of what it is to orchestra—the verb—as a Black person and how to support that in all of the places that it’s happening, not just professional ranks.”\u003c/p>\n\u003cfigure id=\"attachment_13919823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/alexander-laing-jared-platt_custom-afa31fed75ba18496aa2d238c84b2721749ee693-800x534.jpg\" alt=\"A Black man with bald head and neat beard wearing a grey suit and holding an oboe.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Alexander Laing, the co-founder of the Black Orchestral Network. \u003ccite>(Jared Platt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the first things they did was send out a call to action i\u003ca href=\"https://www.blackorchestralnetwork.org/open-letter\" target=\"_blank\" rel=\"noopener noreferrer\">n an open letter \u003c/a>titled, “Dear American Orchestras.” The website lists 60 Black orchestral musicians from around the country who signed it. “We took inspiration from what we’d seen from the theater world and the dance world,” said Laing. “We wanted to articulate a point of view and speak to our experience and then also articulate a vision for the future.”\u003c/p>\n\u003cp>Simon Woods, president and CEO of the \u003ca href=\"https://americanorchestras.org/\" target=\"_blank\" rel=\"noopener noreferrer\">League of American Orchestras\u003c/a>, a lobbying group and the organization that commissioned the 2014 study, said that orchestras in the United States have “traditionally been a pretty white space.”\u003c/p>\n\u003cp>[aside postid='arts_13889101']The League has been looking at equity, diversity and inclusion in its ranks. “There is deep urgency in our field for change,” Wood said. He added that the League is currently working on an update to their earlier study.\u003c/p>\n\u003cp>Still, change comes with challenges. For one, the “blind” audition process, meant to avoid bias by having musicians play behind screens, is integral to the creation of gender parity in orchestras, but has not lead to an increase in Black musicians. The Black Orchestral Network’s Arnold said that’s because who is hired depends on who is invited to audition.\u003c/p>\n\u003cp>“A lot of orchestras aren’t transparent about the fact that they don’t have fully blind auditions,” she said. In other words, plenty of those who audition are able to bypass the screen.\u003c/p>\n\u003cfigure id=\"attachment_13919824\" class=\"wp-caption aligncenter\" style=\"max-width: 477px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919824\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg\" alt=\"A young Black man stands outdoors on a Fall day. A city skyline is visible behind him.\" width=\"477\" height=\"358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d-160x120.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said that there are Black musicians already in the pipeline.\u003c/figcaption>\u003c/figure>\n\u003cp>The other roadblock to change is a tenure system, which means that job openings are often few and far between. Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said there’s no shortage of qualified Black musicians for orchestral jobs, even though many people frame the lack of representation as a problem with the pipeline.\u003c/p>\n\u003cp>“To say we need youth music programs, or it’s happening at the conservatory level; basically, to frame challenges around diversity in a way that absolves orchestras from being part of the problem” is an issue, he said.\u003c/p>\n\u003cp>[aside postid='arts_13884101']Because there \u003cem>is\u003c/em> a pipeline. The Sphinx Organization, based in Detroit, supports young Black and Latinx musicians, the Gateways Music Festival in Rochester features musicians of color from around the country, and the Baltimore Symphony Orchestra recently appointed Jonathon Heyward, a 29-year-old conductor of color, to take over as music director in the fall of 2023.\u003c/p>\n\u003cp>Mark Hanson, president and CEO of the Baltimore Symphony Orchestra said that’s an excellent step, but the organization needs to better reflect its community: “Not just the orchestra itself, but the staff,” he said, “the board, our donors, our partners, and ultimately our audience.”\u003c/p>\n\u003cp>Meanwhile, the Boston Symphony Orchestra is addressing its lack of diversity by creating a Resident Fellowship program for two early career Black musicians this fall. Gail Samuel, the BSO’s president and CEO, said she believes diverse voices are essential for the survival of orchestras: “We need to commit ourselves and our organizations to changing the systems, and the structures, and the policies that have excluded Black musicians for far too long.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Black Orchestral Network co-founder Laing said he hopes the questions they’ve raised will lead to a real change in mindset. “Who is this space for?” Laing asked. “Who is it designed to make comfortable? And whose presence in there upsets that? So, these are the conversations that we’re interested in having.”\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+are+the+Black+musicians+in+the+country%27s+largest+orchestras%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, the League of American Orchestras, a service organization representing professional and amateur symphony orchestras around the United States, \u003ca href=\"https://americanorchestras.org/racial-ethnic-and-gender-diversity-in-the-orchestra-field/\" target=\"_blank\" rel=\"noopener noreferrer\">published a study on diversity\u003c/a> and found that only 1.4% of orchestra musicians were Black.\u003c/p>\n\u003cp>In 2022, it’s hard to say if that figure has gotten better or worse, said Jennifer Arnold, a co-founder of the Black Orchestral Network. Arnold spent 15 seasons playing viola with the Oregon Symphony and now is director of artistic planning and operations for the Richmond Symphony.\u003c/p>\n\u003cfigure id=\"attachment_13919822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg\" alt=\"A Black woman wearing pink lipstick and floral blouse smiles for the camera.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Arnold of the Black Orchestral Network is calling for more data—so they can figure out how many musicians in orchestras are Black. \u003ccite>(Jennifer Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a real need to actually be transparent about what’s happening in the industry, in terms of Black people,” Arnold said. “We do not know how many Black people are in orchestras. And I say that as a representative of Black Orchestral Network. One of our calls is, let’s start collecting data. Let’s find out, have we done better than the 1.4% number that is going out there? That 1.4% is kind of based on well, “I see a Black person on that stage in that orchestra.” That’s not data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In harpist Ann Hobson Pilot’s experience, Black musicians in orchestras can feel isolated. She told a podcast produced by the Black Orchestral Network that when she joined the Boston Symphony Orchestra in 1969, she was its very first Black musician.\u003c/p>\n\u003cp>“When I looked around the orchestra, I didn’t see anyone in there that looked like me,” she said. “And it was another 20 years before another Black player was hired, which is Owen Young, the wonderful cellist. And when I left 20 years later, Owen Young became the only black player in the BSO.” He still is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.blackorchestralnetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Orchestral Network\u003c/a> arose out of ad hoc Zoom gatherings during the pandemic and after the George Floyd and Black Lives Matter protests. But the participants decided to make it a formal organization. Alex Laing, who plays clarinet with the Phoenix Symphony, said they wanted to become “an advocacy group, a group to speak to the experience of what it is to orchestra—the verb—as a Black person and how to support that in all of the places that it’s happening, not just professional ranks.”\u003c/p>\n\u003cfigure id=\"attachment_13919823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/alexander-laing-jared-platt_custom-afa31fed75ba18496aa2d238c84b2721749ee693-800x534.jpg\" alt=\"A Black man with bald head and neat beard wearing a grey suit and holding an oboe.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Alexander Laing, the co-founder of the Black Orchestral Network. \u003ccite>(Jared Platt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the first things they did was send out a call to action i\u003ca href=\"https://www.blackorchestralnetwork.org/open-letter\" target=\"_blank\" rel=\"noopener noreferrer\">n an open letter \u003c/a>titled, “Dear American Orchestras.” The website lists 60 Black orchestral musicians from around the country who signed it. “We took inspiration from what we’d seen from the theater world and the dance world,” said Laing. “We wanted to articulate a point of view and speak to our experience and then also articulate a vision for the future.”\u003c/p>\n\u003cp>Simon Woods, president and CEO of the \u003ca href=\"https://americanorchestras.org/\" target=\"_blank\" rel=\"noopener noreferrer\">League of American Orchestras\u003c/a>, a lobbying group and the organization that commissioned the 2014 study, said that orchestras in the United States have “traditionally been a pretty white space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The League has been looking at equity, diversity and inclusion in its ranks. “There is deep urgency in our field for change,” Wood said. He added that the League is currently working on an update to their earlier study.\u003c/p>\n\u003cp>Still, change comes with challenges. For one, the “blind” audition process, meant to avoid bias by having musicians play behind screens, is integral to the creation of gender parity in orchestras, but has not lead to an increase in Black musicians. The Black Orchestral Network’s Arnold said that’s because who is hired depends on who is invited to audition.\u003c/p>\n\u003cp>“A lot of orchestras aren’t transparent about the fact that they don’t have fully blind auditions,” she said. In other words, plenty of those who audition are able to bypass the screen.\u003c/p>\n\u003cfigure id=\"attachment_13919824\" class=\"wp-caption aligncenter\" style=\"max-width: 477px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919824\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg\" alt=\"A young Black man stands outdoors on a Fall day. A city skyline is visible behind him.\" width=\"477\" height=\"358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d-160x120.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said that there are Black musicians already in the pipeline.\u003c/figcaption>\u003c/figure>\n\u003cp>The other roadblock to change is a tenure system, which means that job openings are often few and far between. Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said there’s no shortage of qualified Black musicians for orchestral jobs, even though many people frame the lack of representation as a problem with the pipeline.\u003c/p>\n\u003cp>“To say we need youth music programs, or it’s happening at the conservatory level; basically, to frame challenges around diversity in a way that absolves orchestras from being part of the problem” is an issue, he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because there \u003cem>is\u003c/em> a pipeline. The Sphinx Organization, based in Detroit, supports young Black and Latinx musicians, the Gateways Music Festival in Rochester features musicians of color from around the country, and the Baltimore Symphony Orchestra recently appointed Jonathon Heyward, a 29-year-old conductor of color, to take over as music director in the fall of 2023.\u003c/p>\n\u003cp>Mark Hanson, president and CEO of the Baltimore Symphony Orchestra said that’s an excellent step, but the organization needs to better reflect its community: “Not just the orchestra itself, but the staff,” he said, “the board, our donors, our partners, and ultimately our audience.”\u003c/p>\n\u003cp>Meanwhile, the Boston Symphony Orchestra is addressing its lack of diversity by creating a Resident Fellowship program for two early career Black musicians this fall. Gail Samuel, the BSO’s president and CEO, said she believes diverse voices are essential for the survival of orchestras: “We need to commit ourselves and our organizations to changing the systems, and the structures, and the policies that have excluded Black musicians for far too long.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Black Orchestral Network co-founder Laing said he hopes the questions they’ve raised will lead to a real change in mindset. “Who is this space for?” Laing asked. “Who is it designed to make comfortable? And whose presence in there upsets that? So, these are the conversations that we’re interested in having.”\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+are+the+Black+musicians+in+the+country%27s+largest+orchestras%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Nothing Compares’: New Sinead O’Connor Documentary Leaves Half Her Story Untold",
"headTitle": "‘Nothing Compares’: New Sinead O’Connor Documentary Leaves Half Her Story Untold | KQED",
"content": "\u003cp>Nearly 10 months ago, Sinead O’Connor was thrust back into the spotlight for the worst possible reasons. Following the suicide of her 17-year-old son Shane, she tweeted, “There is no point living without him,” and that she had “decided to follow him.” Outside parties intervened and the singer ultimately did not harm herself—but the declaration was another in a string of public breakdowns and cries for help by O’Connor.\u003c/p>\n\u003cp>In 2015, O’Connor announced on Facebook that she had “taken an overdose.” In 2020, she postponed tour dates in order to get assistance with PTSD and substance abuse issues. “I grew up with a lot of trauma and abuse,” \u003ca href=\"https://people.com/music/sinead-oconnor-enters-rehab-trauma-addiction/\" target=\"_blank\" rel=\"noopener noreferrer\">she explained at the time\u003c/a>. “I then went straight into the music business and never learned really how to make a normal life.”\u003c/p>\n\u003cp>The world has subsequently been left with a plethora of questions about how O’Connor is doing; how she is coping; how she is healing. If you’re one of the fans who has wondered or worried about her over the last few years, the prospect of a new O’Connor documentary is probably an exciting one. Unfortunately, while \u003cem>Nothing Compares \u003c/em>is an entertaining reminder of what made O’Connor so great at the start of her career, the film barely touches on the last 30 years of her life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=djZFgiTgctY\u003c/p>\n\u003cp>\u003cem>Nothing Compares \u003c/em>does, thankfully, treat O’Connor with the understanding and reverence that she deserves. Early footage of the artist finding herself—her voice, her art—is thrilling. The pain of the childhood abuse she suffered at the hands of her mother remains palpable throughout. And the documentary is clear about the fact that, if O’Connor often resembled a wounded creature fighting for her life onstage, it’s because that’s exactly what she was.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers will leave \u003cem>Nothing Compares\u003c/em> thoroughly reminded of O’Connor’s unique talents, her inspiring determination and the inner strength that made her such a stubborn, inflexible public figure. For those of us who grew up watching the beautiful and enigmatic woman with the shaved head on MTV, \u003cem>Nothing Compares\u003c/em> is a wonderful trip down memory lane. For younger generations, it’s a fantastic introduction to her talents, her music and the permanent imprint she left on pop culture. (Commentary from the likes of Kathleen Hanna, Chuck D. and Peaches hammers that last point home.)\u003c/p>\n\u003cp>[aside postid='arts_13919689']If \u003cem>Nothing Compares \u003c/em>were part one of a two-part documentary, it would be damn near perfect. It’s a great retelling of her life up to the end of 1992. It’s also a decent examination of the injustice of O’Connor losing her career for (quite rightly) taking a stand against child abuse in the Catholic Church. But there is a dark irony inherent in cutting off O’Connor’s story here, at the very same point that American mainstream audiences did. That backlash, of course, arrived after she tore up a photo of the pope live on \u003cem>SNL—\u003c/em>something that prompted boos and hostility from even Bob Dylan audiences. (Footage here of Joe Pesci publicly threatening O’Connor with violence over the act has not aged well.)\u003c/p>\n\u003cp>Sinead O’Connor was just 25 at the time she was blacklisted by the entertainment industry. She’s 55 now, and has birthed three more children, seven more albums and a memoir (\u003cem>Rememberings\u003c/em>). That \u003cem>Nothing Compares\u003c/em> fails to touch on any of those things is confounding—especially after the film demonstrates that the cornerstone of O’Connor’s career has always been complete, unfiltered honesty, no matter the consequences; no matter what we might think of her.\u003c/p>\n\u003cp>The movie ends with a montage of the people and movements for whom O’Connor helped carve a path. Pussy Riot, Lady Gaga, the Women’s March and Emma Gonzalez from March For Our Lives are all present. Footage of Billie Eilish screaming “Shut the fuck up about our bodies!” on stage is particularly powerful in the context. And while that’s all valid, it is far too neat an ending for so complex a person’s story.\u003c/p>\n\u003cp>The one brief moment we do see O’Connor in the present day—also towards the end of the film—is notable for the information it doesn’t share. There is no mention of the fact that she is wearing a hijab now because she converted to Islam in 2018. The fact that she stopped even using the name Sinead O’Connor at that time also goes unmentioned. (Her name is Shuhada Sadaqat now.)\u003c/p>\n\u003cp>[aside postid='arts_13909111']O’Connor was interviewed for the film, and narrates at times by voiceover—the depth of her voice now will come as a surprise to some—and her quotes, smattered throughout the film, are some of the most enlightening here. In particular, what she says about the fallout from \u003cem>SNL\u003c/em> is astonishing. “I regret that I was so wounded already that that really killed and hurt me,” she says. “It was the proudest thing I’ve ever done as an artist. They broke my heart and they killed me—but I didn’t die.”\u003c/p>\n\u003cp>In the end, \u003cem>Nothing Compares\u003c/em> tells us the Sinead O’Connor story we already know. And though it’s well told, hearing what has happened during her decades out of the spotlight would have been more illuminating. Keeping this portion of her life in the dark feels like an extension of the disservice she was done 30 years ago.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nothing Compares’ will be available on demand on Sept. 30, on Showtime. \u003ca href=\"https://www.sho.com/titles/3516714/nothing-compares\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 10 months ago, Sinead O’Connor was thrust back into the spotlight for the worst possible reasons. Following the suicide of her 17-year-old son Shane, she tweeted, “There is no point living without him,” and that she had “decided to follow him.” Outside parties intervened and the singer ultimately did not harm herself—but the declaration was another in a string of public breakdowns and cries for help by O’Connor.\u003c/p>\n\u003cp>In 2015, O’Connor announced on Facebook that she had “taken an overdose.” In 2020, she postponed tour dates in order to get assistance with PTSD and substance abuse issues. “I grew up with a lot of trauma and abuse,” \u003ca href=\"https://people.com/music/sinead-oconnor-enters-rehab-trauma-addiction/\" target=\"_blank\" rel=\"noopener noreferrer\">she explained at the time\u003c/a>. “I then went straight into the music business and never learned really how to make a normal life.”\u003c/p>\n\u003cp>The world has subsequently been left with a plethora of questions about how O’Connor is doing; how she is coping; how she is healing. If you’re one of the fans who has wondered or worried about her over the last few years, the prospect of a new O’Connor documentary is probably an exciting one. Unfortunately, while \u003cem>Nothing Compares \u003c/em>is an entertaining reminder of what made O’Connor so great at the start of her career, the film barely touches on the last 30 years of her life.\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/djZFgiTgctY'\n title='//www.youtube.com/embed/djZFgiTgctY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Nothing Compares \u003c/em>does, thankfully, treat O’Connor with the understanding and reverence that she deserves. Early footage of the artist finding herself—her voice, her art—is thrilling. The pain of the childhood abuse she suffered at the hands of her mother remains palpable throughout. And the documentary is clear about the fact that, if O’Connor often resembled a wounded creature fighting for her life onstage, it’s because that’s exactly what she was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Viewers will leave \u003cem>Nothing Compares\u003c/em> thoroughly reminded of O’Connor’s unique talents, her inspiring determination and the inner strength that made her such a stubborn, inflexible public figure. For those of us who grew up watching the beautiful and enigmatic woman with the shaved head on MTV, \u003cem>Nothing Compares\u003c/em> is a wonderful trip down memory lane. For younger generations, it’s a fantastic introduction to her talents, her music and the permanent imprint she left on pop culture. (Commentary from the likes of Kathleen Hanna, Chuck D. and Peaches hammers that last point home.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If \u003cem>Nothing Compares \u003c/em>were part one of a two-part documentary, it would be damn near perfect. It’s a great retelling of her life up to the end of 1992. It’s also a decent examination of the injustice of O’Connor losing her career for (quite rightly) taking a stand against child abuse in the Catholic Church. But there is a dark irony inherent in cutting off O’Connor’s story here, at the very same point that American mainstream audiences did. That backlash, of course, arrived after she tore up a photo of the pope live on \u003cem>SNL—\u003c/em>something that prompted boos and hostility from even Bob Dylan audiences. (Footage here of Joe Pesci publicly threatening O’Connor with violence over the act has not aged well.)\u003c/p>\n\u003cp>Sinead O’Connor was just 25 at the time she was blacklisted by the entertainment industry. She’s 55 now, and has birthed three more children, seven more albums and a memoir (\u003cem>Rememberings\u003c/em>). That \u003cem>Nothing Compares\u003c/em> fails to touch on any of those things is confounding—especially after the film demonstrates that the cornerstone of O’Connor’s career has always been complete, unfiltered honesty, no matter the consequences; no matter what we might think of her.\u003c/p>\n\u003cp>The movie ends with a montage of the people and movements for whom O’Connor helped carve a path. Pussy Riot, Lady Gaga, the Women’s March and Emma Gonzalez from March For Our Lives are all present. Footage of Billie Eilish screaming “Shut the fuck up about our bodies!” on stage is particularly powerful in the context. And while that’s all valid, it is far too neat an ending for so complex a person’s story.\u003c/p>\n\u003cp>The one brief moment we do see O’Connor in the present day—also towards the end of the film—is notable for the information it doesn’t share. There is no mention of the fact that she is wearing a hijab now because she converted to Islam in 2018. The fact that she stopped even using the name Sinead O’Connor at that time also goes unmentioned. (Her name is Shuhada Sadaqat now.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>O’Connor was interviewed for the film, and narrates at times by voiceover—the depth of her voice now will come as a surprise to some—and her quotes, smattered throughout the film, are some of the most enlightening here. In particular, what she says about the fallout from \u003cem>SNL\u003c/em> is astonishing. “I regret that I was so wounded already that that really killed and hurt me,” she says. “It was the proudest thing I’ve ever done as an artist. They broke my heart and they killed me—but I didn’t die.”\u003c/p>\n\u003cp>In the end, \u003cem>Nothing Compares\u003c/em> tells us the Sinead O’Connor story we already know. And though it’s well told, hearing what has happened during her decades out of the spotlight would have been more illuminating. Keeping this portion of her life in the dark feels like an extension of the disservice she was done 30 years ago.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nothing Compares’ will be available on demand on Sept. 30, on Showtime. \u003ca href=\"https://www.sho.com/titles/3516714/nothing-compares\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lizzo Played James Madison's Crystal Flute Onstage in D.C., Proving History Rocks",
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"content": "\u003cp>Some people visit Washington, D.C., for the tourist attractions, like monuments and museums. They probably don’t expect to see history being made at a pop concert—but that’s what happened to an arena full of fans at Lizzo’s concert Tuesday night.\u003c/p>\n\u003cp>The superstar singer, rapper and classically trained flutist took a quick but momentous break from the setlist of “The Special Tour” to play a crystal flute that was owned by former President James Madison and loaned to her by the Library of Congress.\u003c/p>\n\u003cp>That makes Lizzo the first and only person to play the centuries-old flute, she \u003ca href=\"https://twitter.com/lizzo/status/1575003731640274944?s=20&t=0ViPkYJzGgjR-QFMojQcLQ\" target=\"_blank\" rel=\"noopener noreferrer\">said in a tweet\u003c/a>.\u003c/p>\n\u003cp>“NOBODY HAS EVER HEARD THIS FAMOUS CRYSTAL FLUTE BEFORE,” she wrote. “NOW YOU HAVE.”\u003c/p>\n\u003cp>https://twitter.com/lizzo/status/1575003731640274944\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A French fluter made the ornate instrument in 1813 specifically for Madison in honor of his second inauguration, according to the \u003ca href=\"https://blogs.loc.gov/loc/2018/10/the-mystery-of-james-madisons-crystal-flute/\" target=\"_blank\" rel=\"noopener noreferrer\">Library of Congress\u003c/a>. It says it’s possible that the flute was one of a handful of valuables that former first lady Dolley Madison took with her from the White House as she fled just before \u003ca href=\"https://www.senate.gov/artandhistory/history/common/generic/August_Burning_Washington.htm\" target=\"_blank\" rel=\"noopener noreferrer\">British troops set fire to Washington, D.C.\u003c/a>, in 1814.\u003c/p>\n\u003cp>[aside postid='arts_13858111']So how did it make its way onto the Capital One Arena stage and into the hands of the chart-topping artist? With a lot of security, is the short answer.\u003c/p>\n\u003cp>Here’s the longer version. The flute is among the more than 1,800 flutes that now live in the Library of Congress, which has the largest such collection in the world, according to Carla Hayden, the librarian of Congress (a position nominated by the U.S. president and confirmed by the Senate). Notably, Hayden is \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/14/485992207/senate-approves-carla-hayden-as-new-librarian-of-congress\" target=\"_blank\" rel=\"noopener noreferrer\">the first woman\u003c/a> and first African American to hold the title.\u003c/p>\n\u003cp>On Friday, Hayden \u003ca href=\"https://twitter.com/LibnOfCongress/status/1573327405196115969?s=20&t=CpqHhg8oL4qbpku5CuRPQQ\">tagged Lizzo in a tweet\u003c/a> showcasing some of Library’s flutes — including Madison’s — and inviting her “to come see it and even play a couple when you are in D.C. next week.”\u003c/p>\n\u003cp>“Like your song they are ‘Good as hell,’ ” she added, with a winking emoji.\u003c/p>\n\u003cp>https://twitter.com/LibnOfCongress/status/1573327405196115969\u003c/p>\n\u003cp>Lizzo quickly RSVP’ed with an enthusiastic tweet of her own:\u003c/p>\n\u003cp>It’s worth noting that Lizzo has been \u003ca href=\"https://www.cbsnews.com/news/extended-interview-lizzo-on-her-flute-and-being-a-band-geek/\" target=\"_blank\" rel=\"noopener noreferrer\">playing the flute since she was in grade school\u003c/a>, first learning by ear and then in private lessons (she initially dreamed of becoming a concert flautist before getting into rap and singing). She whips out her flute—which is named Sasha after Beyonce’s “I Am Sasha Fierce” and has its own \u003ca href=\"https://www.instagram.com/sashabefluting/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram account\u003c/a>—often, including on \u003ca href=\"https://www.youtube.com/watch?v=KhctLo_qS10\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and at her \u003ca href=\"https://www.youtube.com/watch?v=DFiLdByWIDY\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>On Monday, a \u003ca href=\"https://twitter.com/AntonioDeLoeraB/status/1574473966957346824?s=20&t=c6MDbjT_yBLRiQS7mojDqw\" target=\"_blank\" rel=\"noopener noreferrer\">patron tweeted\u003c/a> that they had spotted Lizzo at the Library of Congress and that Hayden had personally asked if it was OK with them if she broke the library’s “quiet rule” to play the flute (they said yes, of course). The Library of Congress also dropped a hint about its celebrity visitor, \u003ca href=\"https://twitter.com/librarycongress/status/1574912334769840128?s=20&t=Bfr7x3jPsfloIXbxtYMNyQ\" target=\"_blank\" rel=\"noopener noreferrer\">tweeting a photo\u003c/a> of a sign with Lizzo’s picture and a piece of tape reading, in all caps, “flute guest.”\u003c/p>\n\u003cp>[aside postid='arts_13882779']Handlers brought the flute onstage at Lizzo’s concert the next night. Clad in a shimmering bodysuit, she gingerly accepted the instrument and carried it carefully to the standing microphone a few steps away, remarking that “it’s like playing out of a wine glass, so be patient.”\u003c/p>\n\u003cp>Lizzo lined up her fingers and played a clear, reverberating note—then widened her eyes and stuck out her tongue in apparent amazement. She played another trill while twerking to the beat, as the audience roared. After that she returned the instrument and ran back to the mic.\u003c/p>\n\u003cp>“B***h, I just twerked and played James Madison’s crystal flute from the 1800s,” she exclaimed. “We just made history tonight!”\u003c/p>\n\u003cp>She thanked the Library of Congress for “preserving our history and making history freaking cool.”\u003c/p>\n\u003cp>Carrie Arnold, who was in the crowd on Tuesday, told NPR that the moment felt like a celebration of progress, in a way.\u003c/p>\n\u003cp>“It’s not often you see a founding father’s personal artifacts reclaimed as a symbol of pop culture and a celebration [of] Black female empowerment,” she wrote via text. “It was so uniquely a moment that could only happen in D.C. and … the audience took pride in that.”\u003c/p>\n\u003cp>The library later tweeted that the flute had made it back safely, thanks to an escort from Capitol Police, and hinted it will be sharing more from Lizzo’s visit soon.\u003c/p>\n\u003cp>https://twitter.com/librarycongress/status/1574969878208978944?s=20&t=vUjG12byGM7710kwVW0v7Q\u003c/p>\n\u003cp>In the meantime, D.C. residents as well as history buffs and Lizzo fans from far and wide are amplifying the \u003ca href=\"https://twitter.com/search?q=lizzo%20flute&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">videos on social media\u003c/a> and praising all involved for making the unforgettable moment possible—and especially Lizzo for championing the importance of history. As she said herself onstage:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“History is freaking cool, you guys!”\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Lizzo+played+James+Madison%27s+crystal+flute+onstage+in+D.C.%2C+proving+history+rocks&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some people visit Washington, D.C., for the tourist attractions, like monuments and museums. They probably don’t expect to see history being made at a pop concert—but that’s what happened to an arena full of fans at Lizzo’s concert Tuesday night.\u003c/p>\n\u003cp>The superstar singer, rapper and classically trained flutist took a quick but momentous break from the setlist of “The Special Tour” to play a crystal flute that was owned by former President James Madison and loaned to her by the Library of Congress.\u003c/p>\n\u003cp>That makes Lizzo the first and only person to play the centuries-old flute, she \u003ca href=\"https://twitter.com/lizzo/status/1575003731640274944?s=20&t=0ViPkYJzGgjR-QFMojQcLQ\" target=\"_blank\" rel=\"noopener noreferrer\">said in a tweet\u003c/a>.\u003c/p>\n\u003cp>“NOBODY HAS EVER HEARD THIS FAMOUS CRYSTAL FLUTE BEFORE,” she wrote. “NOW YOU HAVE.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A French fluter made the ornate instrument in 1813 specifically for Madison in honor of his second inauguration, according to the \u003ca href=\"https://blogs.loc.gov/loc/2018/10/the-mystery-of-james-madisons-crystal-flute/\" target=\"_blank\" rel=\"noopener noreferrer\">Library of Congress\u003c/a>. It says it’s possible that the flute was one of a handful of valuables that former first lady Dolley Madison took with her from the White House as she fled just before \u003ca href=\"https://www.senate.gov/artandhistory/history/common/generic/August_Burning_Washington.htm\" target=\"_blank\" rel=\"noopener noreferrer\">British troops set fire to Washington, D.C.\u003c/a>, in 1814.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So how did it make its way onto the Capital One Arena stage and into the hands of the chart-topping artist? With a lot of security, is the short answer.\u003c/p>\n\u003cp>Here’s the longer version. The flute is among the more than 1,800 flutes that now live in the Library of Congress, which has the largest such collection in the world, according to Carla Hayden, the librarian of Congress (a position nominated by the U.S. president and confirmed by the Senate). Notably, Hayden is \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/14/485992207/senate-approves-carla-hayden-as-new-librarian-of-congress\" target=\"_blank\" rel=\"noopener noreferrer\">the first woman\u003c/a> and first African American to hold the title.\u003c/p>\n\u003cp>On Friday, Hayden \u003ca href=\"https://twitter.com/LibnOfCongress/status/1573327405196115969?s=20&t=CpqHhg8oL4qbpku5CuRPQQ\">tagged Lizzo in a tweet\u003c/a> showcasing some of Library’s flutes — including Madison’s — and inviting her “to come see it and even play a couple when you are in D.C. next week.”\u003c/p>\n\u003cp>“Like your song they are ‘Good as hell,’ ” she added, with a winking emoji.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lizzo quickly RSVP’ed with an enthusiastic tweet of her own:\u003c/p>\n\u003cp>It’s worth noting that Lizzo has been \u003ca href=\"https://www.cbsnews.com/news/extended-interview-lizzo-on-her-flute-and-being-a-band-geek/\" target=\"_blank\" rel=\"noopener noreferrer\">playing the flute since she was in grade school\u003c/a>, first learning by ear and then in private lessons (she initially dreamed of becoming a concert flautist before getting into rap and singing). She whips out her flute—which is named Sasha after Beyonce’s “I Am Sasha Fierce” and has its own \u003ca href=\"https://www.instagram.com/sashabefluting/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram account\u003c/a>—often, including on \u003ca href=\"https://www.youtube.com/watch?v=KhctLo_qS10\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and at her \u003ca href=\"https://www.youtube.com/watch?v=DFiLdByWIDY\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk Concert\u003c/a>.\u003c/p>\n\u003cp>On Monday, a \u003ca href=\"https://twitter.com/AntonioDeLoeraB/status/1574473966957346824?s=20&t=c6MDbjT_yBLRiQS7mojDqw\" target=\"_blank\" rel=\"noopener noreferrer\">patron tweeted\u003c/a> that they had spotted Lizzo at the Library of Congress and that Hayden had personally asked if it was OK with them if she broke the library’s “quiet rule” to play the flute (they said yes, of course). The Library of Congress also dropped a hint about its celebrity visitor, \u003ca href=\"https://twitter.com/librarycongress/status/1574912334769840128?s=20&t=Bfr7x3jPsfloIXbxtYMNyQ\" target=\"_blank\" rel=\"noopener noreferrer\">tweeting a photo\u003c/a> of a sign with Lizzo’s picture and a piece of tape reading, in all caps, “flute guest.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Handlers brought the flute onstage at Lizzo’s concert the next night. Clad in a shimmering bodysuit, she gingerly accepted the instrument and carried it carefully to the standing microphone a few steps away, remarking that “it’s like playing out of a wine glass, so be patient.”\u003c/p>\n\u003cp>Lizzo lined up her fingers and played a clear, reverberating note—then widened her eyes and stuck out her tongue in apparent amazement. She played another trill while twerking to the beat, as the audience roared. After that she returned the instrument and ran back to the mic.\u003c/p>\n\u003cp>“B***h, I just twerked and played James Madison’s crystal flute from the 1800s,” she exclaimed. “We just made history tonight!”\u003c/p>\n\u003cp>She thanked the Library of Congress for “preserving our history and making history freaking cool.”\u003c/p>\n\u003cp>Carrie Arnold, who was in the crowd on Tuesday, told NPR that the moment felt like a celebration of progress, in a way.\u003c/p>\n\u003cp>“It’s not often you see a founding father’s personal artifacts reclaimed as a symbol of pop culture and a celebration [of] Black female empowerment,” she wrote via text. “It was so uniquely a moment that could only happen in D.C. and … the audience took pride in that.”\u003c/p>\n\u003cp>The library later tweeted that the flute had made it back safely, thanks to an escort from Capitol Police, and hinted it will be sharing more from Lizzo’s visit soon.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the meantime, D.C. residents as well as history buffs and Lizzo fans from far and wide are amplifying the \u003ca href=\"https://twitter.com/search?q=lizzo%20flute&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">videos on social media\u003c/a> and praising all involved for making the unforgettable moment possible—and especially Lizzo for championing the importance of history. As she said herself onstage:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“History is freaking cool, you guys!”\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Lizzo+played+James+Madison%27s+crystal+flute+onstage+in+D.C.%2C+proving+history+rocks&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "10 Lesser-Known Acts to Catch at Hardly Strictly Bluegrass",
"headTitle": "10 Lesser-Known Acts to Catch at Hardly Strictly Bluegrass | KQED",
"content": "\u003cp>Returning to Golden Gate Park after a three-year pandemic-induced hiatus, the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a> brings a bevy of big names to San Francisco this weekend, Sept. 30-Oct. 2.\u003cbr>\n[aside postID=\"arts_13916410\"]With acts on tap like Elvis Costello, Allison Russell, Bela Fleck and Emmylou Harris, Hardly Strictly has no shortage of artists who’ve earned their vaunted status as institutions. But if you’re inclined to do a little wandering between the festival’s four stages, one of the prime pleasures of the festival comes from checking out unfamiliar artists, whether a rising star or a veteran performer trying out a new combo.\u003c/p>\n\u003cp>In many ways Hardly Strictly is more than a festival. It’s a musical weather system that sweeps over the region, and not just because of the satellite programming presented as part of \u003ca href=\"https://www.hardlystrictlybluegrass.com/out-of-the-park/\">Hardly Strictly Out of the Park\u003c/a>. A spot on the HSBG roster often serves as the centerpiece for a wider West Coast run, providing strong tailwinds for the fall music season. Here are 10 acts well worth a listen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N5cET-ipUcQ\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/satya/\">Satya\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 2-2:30pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>At 22, Oakland-reared, New Orleans-based Satya is a neo-soul singer/songwriter with boundless promise. Her relaxed phrasing and becalmed delivery hints at the deep currents flowing through her music, which slows the passage of time with ripples of self-revelation. Her name means “truth” in Sanskrit, but Satya offers hints and clues rather than a road map, inviting listeners along as she finds her way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sHbl6zhO3wo\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/joy-oladokun/\">Joy Oladokun\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 3:55-4:45pm\u003cbr>\nTowers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>A first-generation Nigerian-American singer/songwriter, Joy Oladokun creates music from her perspective as a queer Black woman who’s absorbed the forthright stance of artists like Tracy Chapman and Joan Armatrading. Raised in Arizona and now based in Los Angeles, she’s staked an early claim as one of the decade’s artists to watch with two albums that brim with confidence, vulnerability, and righteous melodic invention: 2020’s \u003cem>in defense of my own happiness (the beginnings)\u003c/em> and 2021’s \u003cem>in defense of my own happiness\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zvie5df0SP8\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/charley-crockett/\">Charley Crockett\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 5:45-7pm\u003c/strong>\u003cbr>\n\u003cstrong>Towers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>Often cast as polar idioms, country music and the blues share deep roots that the best country artists manifest clearly. With his telegraphic storytelling and dry humor, Charley Crockett embodies the blues aesthetic that hard times are best endured by turning tribulation into a communal exorcism. He’s a dauntingly prolific artist who’s released a diverse array of material on 11 albums since 2015, including a simmering new project, \u003cem>The Man from Waco\u003c/em>, that feels like an homage to Johnny Cash.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JygS9kX-kak\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/cedric-watson/\">Cedric Watson\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Banjo Stage\u003cbr>\nSaturday 11-11:45am\u003c/strong>\u003c/p>\n\u003cp>Fiddler, singer, accordionist and songwriter Cedric Watson is a leading force in the revival of Creole and Acadian roots music, drawing on centuries-old songs spread by the French and Spanish empires and rhythms brought to the Caribbean by enslaved West Africans. Part of what makes Watson such a dynamic artist is that he’s both a deep scholar and a prolific songwriter who carries traditional forms into the 21\u003csup>st\u003c/sup> century, mixing and melding influences as he sees fit. He also performs at the festival afterparty \u003ca href=\"https://www.ashkenaz.com/events-backend/cedric-watson-a-hardly-strictly-bluegrass-afterparty\">Oct. 1 at Ashkenaz\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oEtoiqy0VGo\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/aj-lee-and-blue-summit/\">AJ Lee & Blue Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 1:30-2:10pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A product of the Bay Area’s verdant bluegrass music scene, guitarist, mandolinist and vocalist AJ Lee was still in her mid-teens when she started performing with Blue Summit in 2015. Now a road-seasoned act, the band released an impressive second album last year with \u003cem>I’ll Come Back\u003c/em>, featuring Sullivan Tuttle and Scott Gates on steel string guitars, fiddler Jan Purat and bassist Chad Bowen. Bluegrass is still a major source of inspiration for the group, but their sound now draws on a wider constellation of acoustic idioms, fitting comfortably under the Americana umbrella while avoiding many of the attendant clichés.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cEyYlyRr2_U\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/waxahatchee/\">Waxahatchee\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 3:55-4:55pm\u003cbr>\nBanjo Stage\u003c/strong>\u003c/p>\n\u003cp>Named after a creek that runs close to her childhood home in Alabama, Katie Crutchfield’s solo project Waxahatchee has become a major outlet for her songwriting in recent years. She’s released a series of trenchant, critically acclaimed albums over the past decade, but 2020’s \u003cem>Saint Cloud\u003c/em> found her in particularly harrowing territory, a sojourn inspired by her determination to attain sobriety. Crutchfield returns to the Bay Area next month with Plains, her project with Jess Williamson, playing \u003ca href=\"https://folkyeah.com/#/plains-katie-crutchfield-jess-williamson-sonoma-1024\">Sonoma\u003c/a> and \u003ca href=\"https://www.axs.com/events/442689/plains-featuring-katie-crutchfield-from-waxahatchee-and-jess-williamso-tickets\">San Francisco\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U89BGcn_AOs\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/arooj-aftab/\">Arooj Aftab\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 12:30-1:15pm\u003cbr>\nRooster Stage\u003c/strong>\u003c/p>\n\u003cp>Born in Saudi Arabia to parents from Pakistan, Grammy Award-winning vocalist Arooj Aftab applies her training in Hindustani classical music to a sumptuous array of settings for Urdu poetry. A brilliant improviser who’s collaborated with leading jazz musicians like pianist Vijay Iyer, she’s crafted her own mesmerizing sound, drawing on love-besotted ghazals and minimalist patterns.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GC5UBAoa6nw\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/danielle-ponder/\">Danielle Ponder\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:20-2pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Since leaving her job as a public defender in upstate New York, powerhouse vocalist Danielle Ponder has emerged as a clarion artist whose songs tackle knotty territory without compromising melodic force. Steeped in gospel and inspired by blues, rock and hip-hop, she sings with sanctified authority and hard-knock knowledge gleaned from personal experience. Before Hardly Strictly she also headlines \u003ca href=\"https://moesalley.com/event-details/12402625/-folkyeah-presents-danielle-ponder-with-special-guests/\">Sept. 29 at Moe’s Alley\u003c/a> in Santa Cruz and opens for Marcus Mumford \u003ca href=\"https://concerts.livenation.com/marcus-mumford-san-francisco-california-10-01-2022/event/1C005D0AF94E4173?_ga=2.239581635.1978444917.1663717476-386014478.1663717475\">Sept. 30 at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4EWY6W5jkSs\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/dashawn-hickman/\">DaShawn Hickman with Charlie Hunter\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:25-2pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A master of the Sacred Steel tradition, DaShawn Hickman was a founding member of The Allen Boys, a group that took the rollicking music powering Pentecostal Holiness services in North Carolina out of the church and on the road. Teaming up with Charlie Hunter, the jazz-meets-funk guitarist who contributed to influential albums by D’Angelo and A Tribe Called Quest, Hickman recorded the stellar album \u003cem>Drums, Roots & Steel\u003c/em> for Little Village Foundation, a project that ushers the Sacred Steel sound into celebratory secular settings. A Berkeley native based in North Carolina, Hunter is also in town with SuperBlue, his hip-hop-inflected collaboration with jazz vocalist Kurt Elling, playing Menlo Park’s \u003ca href=\"https://guildtheatre.com/events/superblue-kurt-elling-ft-charlie-hunter-9-27-22/\">Guild Theater Sept. 27\u003c/a> and \u003ca href=\"https://secure.thefreight.org/11472/kurt-elling-charlie-hunter\">Freight & Salvage Sept. 30\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7RzaRh6E6bY\u003c/p>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/the-whitmore-sisters/\">The Whitmore Sisters\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 4:55-5:40pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Eleanor Whitmore has long been known for her work with her husband Chris Masterson in The Mastersons, but after being grounded by the pandemic she teamed up with her younger sister Bonnie to renew their musical relationship in the Whitmore Sisters. Collaborating on \u003cem>Ghost Stories\u003c/em> (Red House Records), they created an enthralling collection of songs that marry voluptuous arrangements to fever-pitch themes of love, death and loss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Acts like Elvis Costello and Emmylou Harris get top billing at this year's festival, which takes place Sept. 30-Oct. 2. But good things come to those who wander—like the discovery of your new favorite up-and-coming artist. ",
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"title": "10 Lesser-Known Acts to Catch at Hardly Strictly Bluegrass | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Returning to Golden Gate Park after a three-year pandemic-induced hiatus, the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a> brings a bevy of big names to San Francisco this weekend, Sept. 30-Oct. 2.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With acts on tap like Elvis Costello, Allison Russell, Bela Fleck and Emmylou Harris, Hardly Strictly has no shortage of artists who’ve earned their vaunted status as institutions. But if you’re inclined to do a little wandering between the festival’s four stages, one of the prime pleasures of the festival comes from checking out unfamiliar artists, whether a rising star or a veteran performer trying out a new combo.\u003c/p>\n\u003cp>In many ways Hardly Strictly is more than a festival. It’s a musical weather system that sweeps over the region, and not just because of the satellite programming presented as part of \u003ca href=\"https://www.hardlystrictlybluegrass.com/out-of-the-park/\">Hardly Strictly Out of the Park\u003c/a>. A spot on the HSBG roster often serves as the centerpiece for a wider West Coast run, providing strong tailwinds for the fall music season. Here are 10 acts well worth a listen.\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/N5cET-ipUcQ'\n title='//www.youtube.com/embed/N5cET-ipUcQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/satya/\">Satya\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 2-2:30pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>At 22, Oakland-reared, New Orleans-based Satya is a neo-soul singer/songwriter with boundless promise. Her relaxed phrasing and becalmed delivery hints at the deep currents flowing through her music, which slows the passage of time with ripples of self-revelation. Her name means “truth” in Sanskrit, but Satya offers hints and clues rather than a road map, inviting listeners along as she finds her way.\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/sHbl6zhO3wo'\n title='//www.youtube.com/embed/sHbl6zhO3wo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/joy-oladokun/\">Joy Oladokun\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 3:55-4:45pm\u003cbr>\nTowers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>A first-generation Nigerian-American singer/songwriter, Joy Oladokun creates music from her perspective as a queer Black woman who’s absorbed the forthright stance of artists like Tracy Chapman and Joan Armatrading. Raised in Arizona and now based in Los Angeles, she’s staked an early claim as one of the decade’s artists to watch with two albums that brim with confidence, vulnerability, and righteous melodic invention: 2020’s \u003cem>in defense of my own happiness (the beginnings)\u003c/em> and 2021’s \u003cem>in defense of my own happiness\u003c/em>.\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/zvie5df0SP8'\n title='//www.youtube.com/embed/zvie5df0SP8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/charley-crockett/\">Charley Crockett\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Friday 5:45-7pm\u003c/strong>\u003cbr>\n\u003cstrong>Towers of Gold Stage\u003c/strong>\u003c/p>\n\u003cp>Often cast as polar idioms, country music and the blues share deep roots that the best country artists manifest clearly. With his telegraphic storytelling and dry humor, Charley Crockett embodies the blues aesthetic that hard times are best endured by turning tribulation into a communal exorcism. He’s a dauntingly prolific artist who’s released a diverse array of material on 11 albums since 2015, including a simmering new project, \u003cem>The Man from Waco\u003c/em>, that feels like an homage to Johnny Cash.\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/JygS9kX-kak'\n title='//www.youtube.com/embed/JygS9kX-kak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/cedric-watson/\">Cedric Watson\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Banjo Stage\u003cbr>\nSaturday 11-11:45am\u003c/strong>\u003c/p>\n\u003cp>Fiddler, singer, accordionist and songwriter Cedric Watson is a leading force in the revival of Creole and Acadian roots music, drawing on centuries-old songs spread by the French and Spanish empires and rhythms brought to the Caribbean by enslaved West Africans. Part of what makes Watson such a dynamic artist is that he’s both a deep scholar and a prolific songwriter who carries traditional forms into the 21\u003csup>st\u003c/sup> century, mixing and melding influences as he sees fit. He also performs at the festival afterparty \u003ca href=\"https://www.ashkenaz.com/events-backend/cedric-watson-a-hardly-strictly-bluegrass-afterparty\">Oct. 1 at Ashkenaz\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oEtoiqy0VGo'\n title='//www.youtube.com/embed/oEtoiqy0VGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/aj-lee-and-blue-summit/\">AJ Lee & Blue Summit\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 1:30-2:10pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A product of the Bay Area’s verdant bluegrass music scene, guitarist, mandolinist and vocalist AJ Lee was still in her mid-teens when she started performing with Blue Summit in 2015. Now a road-seasoned act, the band released an impressive second album last year with \u003cem>I’ll Come Back\u003c/em>, featuring Sullivan Tuttle and Scott Gates on steel string guitars, fiddler Jan Purat and bassist Chad Bowen. Bluegrass is still a major source of inspiration for the group, but their sound now draws on a wider constellation of acoustic idioms, fitting comfortably under the Americana umbrella while avoiding many of the attendant clichés.\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/cEyYlyRr2_U'\n title='//www.youtube.com/embed/cEyYlyRr2_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/waxahatchee/\">Waxahatchee\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Saturday 3:55-4:55pm\u003cbr>\nBanjo Stage\u003c/strong>\u003c/p>\n\u003cp>Named after a creek that runs close to her childhood home in Alabama, Katie Crutchfield’s solo project Waxahatchee has become a major outlet for her songwriting in recent years. She’s released a series of trenchant, critically acclaimed albums over the past decade, but 2020’s \u003cem>Saint Cloud\u003c/em> found her in particularly harrowing territory, a sojourn inspired by her determination to attain sobriety. Crutchfield returns to the Bay Area next month with Plains, her project with Jess Williamson, playing \u003ca href=\"https://folkyeah.com/#/plains-katie-crutchfield-jess-williamson-sonoma-1024\">Sonoma\u003c/a> and \u003ca href=\"https://www.axs.com/events/442689/plains-featuring-katie-crutchfield-from-waxahatchee-and-jess-williamso-tickets\">San Francisco\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U89BGcn_AOs'\n title='//www.youtube.com/embed/U89BGcn_AOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/arooj-aftab/\">Arooj Aftab\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 12:30-1:15pm\u003cbr>\nRooster Stage\u003c/strong>\u003c/p>\n\u003cp>Born in Saudi Arabia to parents from Pakistan, Grammy Award-winning vocalist Arooj Aftab applies her training in Hindustani classical music to a sumptuous array of settings for Urdu poetry. A brilliant improviser who’s collaborated with leading jazz musicians like pianist Vijay Iyer, she’s crafted her own mesmerizing sound, drawing on love-besotted ghazals and minimalist patterns.\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/GC5UBAoa6nw'\n title='//www.youtube.com/embed/GC5UBAoa6nw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/danielle-ponder/\">Danielle Ponder\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:20-2pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Since leaving her job as a public defender in upstate New York, powerhouse vocalist Danielle Ponder has emerged as a clarion artist whose songs tackle knotty territory without compromising melodic force. Steeped in gospel and inspired by blues, rock and hip-hop, she sings with sanctified authority and hard-knock knowledge gleaned from personal experience. Before Hardly Strictly she also headlines \u003ca href=\"https://moesalley.com/event-details/12402625/-folkyeah-presents-danielle-ponder-with-special-guests/\">Sept. 29 at Moe’s Alley\u003c/a> in Santa Cruz and opens for Marcus Mumford \u003ca href=\"https://concerts.livenation.com/marcus-mumford-san-francisco-california-10-01-2022/event/1C005D0AF94E4173?_ga=2.239581635.1978444917.1663717476-386014478.1663717475\">Sept. 30 at the Fillmore\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4EWY6W5jkSs'\n title='//www.youtube.com/embed/4EWY6W5jkSs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/dashawn-hickman/\">DaShawn Hickman with Charlie Hunter\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 1:25-2pm\u003cbr>\nBandwagon Stage\u003c/strong>\u003c/p>\n\u003cp>A master of the Sacred Steel tradition, DaShawn Hickman was a founding member of The Allen Boys, a group that took the rollicking music powering Pentecostal Holiness services in North Carolina out of the church and on the road. Teaming up with Charlie Hunter, the jazz-meets-funk guitarist who contributed to influential albums by D’Angelo and A Tribe Called Quest, Hickman recorded the stellar album \u003cem>Drums, Roots & Steel\u003c/em> for Little Village Foundation, a project that ushers the Sacred Steel sound into celebratory secular settings. A Berkeley native based in North Carolina, Hunter is also in town with SuperBlue, his hip-hop-inflected collaboration with jazz vocalist Kurt Elling, playing Menlo Park’s \u003ca href=\"https://guildtheatre.com/events/superblue-kurt-elling-ft-charlie-hunter-9-27-22/\">Guild Theater Sept. 27\u003c/a> and \u003ca href=\"https://secure.thefreight.org/11472/kurt-elling-charlie-hunter\">Freight & Salvage Sept. 30\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7RzaRh6E6bY'\n title='//www.youtube.com/embed/7RzaRh6E6bY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/artist/the-whitmore-sisters/\">The Whitmore Sisters\u003c/a>\u003c/h2>\n\u003cp>\u003cstrong>Sunday 4:55-5:40pm\u003cbr>\nPorch Stage\u003c/strong>\u003c/p>\n\u003cp>Eleanor Whitmore has long been known for her work with her husband Chris Masterson in The Mastersons, but after being grounded by the pandemic she teamed up with her younger sister Bonnie to renew their musical relationship in the Whitmore Sisters. Collaborating on \u003cem>Ghost Stories\u003c/em> (Red House Records), they created an enthralling collection of songs that marry voluptuous arrangements to fever-pitch themes of love, death and loss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pharoah Sanders, the revered and influential tenor saxophonist who explored and extended the boundaries of his instrument, notably alongside John Coltrane in the 1960s, died on Saturday morning in Los Angeles. His death was announced in a post on social media by the record label Luaka Bop, which had released his celebrated 2021 album \u003cem>Promises\u003c/em> and confirmed by a publicist who worked on the release. Sanders was 81 years old. \u003c/p>\n\u003cp>Spirit was the overwhelming force in Sanders’ music: It emanated from his tenor and soprano saxophones in fiery blasts or a murmuring flicker, and it suffused his ensembles, which featured several generations of improvisers equally willing to dig in or soar free. “Sanders has consistently had bands that could not only create a lyrical near-mystical Afro-Eastern world,” wrote one champion, the poet-critic Amiri Baraka, “but [also] sweat hot fire music in continuing display of the so-called ‘energy music’ of the ’60s.”\u003c/p>\n\u003cp>That combination of traits characterized Sanders’ defining solo work of the ’70s on Impulse! Records, which had been Coltrane’s label home, and was still a welcoming harbor for experimentalism. Among these albums are \u003cem>Black Unity\u003c/em>, consisting of one album-length improvisation, and \u003cem>Thembi\u003c/em>, which nudges a post-Coltrane language into the realm of Afrocentric groove. \u003c/p>\n\u003cp>Sanders’ single best-known piece of music is “The Creator Has a Master Plan,” an expansive performance from 1969 that peaks in wailing cacophony but ends with a buoyant, soulful vocal refrain. Originally split across two sides of the 1969 LP \u003cem>Karma\u003c/em>, the track was later issued on CD as a single track, nearly 33 minutes long.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViweO33oo2Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pharoah was born Ferrell Sanders on Oct. 13, 1940, in Little Rock, Ark. His love of music began at home, through his choir-leading grandfather. After high school — and a switch from the clarinet to the alto saxophone, before finally settling into the tenor sax — Sanders moved to the West Coast around 1959, attending Oakland Junior College, expanding his musical palette and pursuing the horizon, sitting in with avant-garde saxophonists like Sonny Simmons and Dewey Redman. While there, Sanders first met and befriended John Coltrane, though they wouldn’t work together until many years later.\u003c/p>\n\u003cp>In 1961, Sanders relocated to New York, looking to join the city’s fecund jazz scene, where Coltrane was a reigning figure. Sanders’ landing in New York was rocky, however, resulting in intermittent homelessness as he practiced, sporadically, with Sun Ra and his Arkestra. (Sun Ra, it’s said, was the one who encouraged him to take the name Pharoah.) Eventually, he was forced to pawn his horn.\u003c/p>\n\u003cp>Sanders’ fortunes in New York slowly but surely turned around as he established a solo career, and by 1965 he was a member of what would be Coltrane’s final quartet. \u003cem>Ascension\u003c/em>, recorded in 1965 and released the following year, was a late-in-life turning point for Coltrane and, by extension, Sanders, who would become known for using his instrument in novel — anarchic and atonal — ways. Last year, Impulse! released the archival recording \u003ca href=\"https://www.npr.org/2021/08/26/1031013271/john-coltranes-masterpiece-breathes-new-life-with-a-love-supreme-live-in-seattle\">\u003cem>A Love Supreme: Live in Seattle\u003c/em>\u003c/a>\u003cem>, \u003c/em>recorded a few months after \u003cem>Ascension; \u003c/em>it features Sanders as a vital addition to Coltrane’s quartet, expanding on his most heralded musical statement. (\u003cem>Live in Seattle,\u003c/em> a separate album recorded during the same engagement, had long been a touchstone for an avant-garde left to forge the path ahead after Coltrane’s death in ’67.)\u003c/p>\n\u003cp>Even given his pioneering work, Sanders downplayed his technical achievements in favor of the emotional resonance he was seeking. “I’m not so much of a technical player myself,” Sanders explained in \u003ca href=\"https://www.youtube.com/watch?v=uAzuLV00DOk\">a 1995 interview\u003c/a>. “I’m probably not that much of an intellectual player, as some other musicians. What I do is… express. That’s what I do.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Pharaoh Sanders perform inside a tunnel at the Marin Headlands:\u003c/em>\u003c/strong>\u003cbr>\nhttps://www.youtube.com/watch?v=Y7EGQzn8e1k\u003c/p>\n\u003cp>Sanders’ stature grew beyond the jazz avant-garde space as he became something of a spiritual elder, and his expressiveness survived in new contexts. In 2021, he released the album \u003cem>Promises\u003c/em> in collaboration with the electronic musician Sam Shepherd, who records as Floating Points, and the London Symphony Orchestra that was widely and immediately hailed as one of the year’s best. A patient and meditative album, it sometimes feels like a structure built for the sole purpose of allowing Sanders’ voice and saxophone to levitate.\u003c/p>\n\u003cp>For many years, the jazz establishment lagged behind the African American community in appreciating Sanders’ work, especially apart from his affiliation with Coltrane. But the power of his example and the sweep of his music helped set the framework for an ascendant class of artists like tenor saxophonists Kamasi Washington, James Brandon Lewis and Nubya Garcia, and multi-reedist Shabaka Hutchings. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I find it difficult to regard Pharoah Sanders as an individual,” wrote Hutchings in an \u003ca href=\"https://thevinylfactory.com/features/the-spiritual-power-of-pharoah-sanders/\">appreciation of \u003cem>Black Unity\u003c/em>\u003c/a> for The Vinyl Factory. “I intuitively consider him as representational of a creative principle that centers communalism as the driving force from which spirit is manifested through sound.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pharoah+Sanders%2C+giant+of+spirit-driven+jazz%2C+dies+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pharoah was born Ferrell Sanders on Oct. 13, 1940, in Little Rock, Ark. His love of music began at home, through his choir-leading grandfather. After high school — and a switch from the clarinet to the alto saxophone, before finally settling into the tenor sax — Sanders moved to the West Coast around 1959, attending Oakland Junior College, expanding his musical palette and pursuing the horizon, sitting in with avant-garde saxophonists like Sonny Simmons and Dewey Redman. While there, Sanders first met and befriended John Coltrane, though they wouldn’t work together until many years later.\u003c/p>\n\u003cp>In 1961, Sanders relocated to New York, looking to join the city’s fecund jazz scene, where Coltrane was a reigning figure. Sanders’ landing in New York was rocky, however, resulting in intermittent homelessness as he practiced, sporadically, with Sun Ra and his Arkestra. (Sun Ra, it’s said, was the one who encouraged him to take the name Pharoah.) Eventually, he was forced to pawn his horn.\u003c/p>\n\u003cp>Sanders’ fortunes in New York slowly but surely turned around as he established a solo career, and by 1965 he was a member of what would be Coltrane’s final quartet. \u003cem>Ascension\u003c/em>, recorded in 1965 and released the following year, was a late-in-life turning point for Coltrane and, by extension, Sanders, who would become known for using his instrument in novel — anarchic and atonal — ways. Last year, Impulse! released the archival recording \u003ca href=\"https://www.npr.org/2021/08/26/1031013271/john-coltranes-masterpiece-breathes-new-life-with-a-love-supreme-live-in-seattle\">\u003cem>A Love Supreme: Live in Seattle\u003c/em>\u003c/a>\u003cem>, \u003c/em>recorded a few months after \u003cem>Ascension; \u003c/em>it features Sanders as a vital addition to Coltrane’s quartet, expanding on his most heralded musical statement. (\u003cem>Live in Seattle,\u003c/em> a separate album recorded during the same engagement, had long been a touchstone for an avant-garde left to forge the path ahead after Coltrane’s death in ’67.)\u003c/p>\n\u003cp>Even given his pioneering work, Sanders downplayed his technical achievements in favor of the emotional resonance he was seeking. “I’m not so much of a technical player myself,” Sanders explained in \u003ca href=\"https://www.youtube.com/watch?v=uAzuLV00DOk\">a 1995 interview\u003c/a>. “I’m probably not that much of an intellectual player, as some other musicians. What I do is… express. That’s what I do.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Pharaoh Sanders perform inside a tunnel at the Marin Headlands:\u003c/em>\u003c/strong>\u003cbr>\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/Y7EGQzn8e1k'\n title='//www.youtube.com/embed/Y7EGQzn8e1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sanders’ stature grew beyond the jazz avant-garde space as he became something of a spiritual elder, and his expressiveness survived in new contexts. In 2021, he released the album \u003cem>Promises\u003c/em> in collaboration with the electronic musician Sam Shepherd, who records as Floating Points, and the London Symphony Orchestra that was widely and immediately hailed as one of the year’s best. A patient and meditative album, it sometimes feels like a structure built for the sole purpose of allowing Sanders’ voice and saxophone to levitate.\u003c/p>\n\u003cp>For many years, the jazz establishment lagged behind the African American community in appreciating Sanders’ work, especially apart from his affiliation with Coltrane. But the power of his example and the sweep of his music helped set the framework for an ascendant class of artists like tenor saxophonists Kamasi Washington, James Brandon Lewis and Nubya Garcia, and multi-reedist Shabaka Hutchings. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I find it difficult to regard Pharoah Sanders as an individual,” wrote Hutchings in an \u003ca href=\"https://thevinylfactory.com/features/the-spiritual-power-of-pharoah-sanders/\">appreciation of \u003cem>Black Unity\u003c/em>\u003c/a> for The Vinyl Factory. “I intuitively consider him as representational of a creative principle that centers communalism as the driving force from which spirit is manifested through sound.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. 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"content": "\u003cp>Stepping into \u003ca href=\"https://www.instagram.com/eternalnow.space/\" target=\"_blank\" rel=\"noopener noreferrer\">Eternal Now\u003c/a> feels like entering another country. On Friday, Aug. 26, the combination bookstore and record shop, housed within an inconspicuous black building on West Oakland’s San Pablo Avenue, was packed almost to the brim to see rappers and producers Alexander Spit and Ovrkast. Will Bundy, one of the shop owners (and former director of the mini-festival \u003ca href=\"https://www.kqed.org/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a>), was handling purchases and drinks while Spit made beats live.\u003c/p>\n\u003cp>When it’s not acting as a show venue, the shop, which opened its doors at the start of June, is a calming escape. Light bounces off the white walls; the vibe is a beachside villa. Bundy, along with Ali Madigan, the lead designer on the space, and Jared (Stretch) Schwartz, Bundy’s business partner, make up the Eternal Now team. Bundy and Schwartz handle the inner workings of running the store, including the customer-facing day-to-day activities, and Madigan manages the design duties.\u003c/p>\n\u003cfigure id=\"attachment_13919551\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg\" alt=\"Door open on sidewalk in black-painted facade.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eternal Now’s unassuming storefront on San Pablo Avenue. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want people to feel like they’ve entered a portal into something new, or an oasis, or into a space where they can really get lost in a book, or into the music they’re listening to,” Bundy explains. The store’s hours are limited (Saturdays and Sundays, 1–6pm and by appointment) simply because this is not only a storefront for Bundy. He lives there too.\u003c/p>\n\u003cp>Behind the Eternal Now storefront lies “The Palace,” the space Bundy and Madigan have called home for the last five years. The storefront and living space have morphed dramatically over time. In the 1930s, it was a bar; 30 years later, it briefly became a laundromat. When Bundy and Madigan moved in, they used what is now the store as Madigan’s workshop, where she would work on set and clothing designs.\u003c/p>\n\u003cp>“When we came, it was a lot of windowless rooms and old drywall, and we just basically ripped everything out,” Madigan says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That empty space was a blank canvas for Madigan’s approach to interior design: The Palace was where she tested out ideas with mirrors, curved white planes, small seating areas, geometric shapes and exposed brick. For Eternal Now, Madigan used wooden stairs, metal railings and a lofted platform to create a listening station. “We really played that up, sort of this idea of this secret palace in the back,” she says. (It makes for a great Instagram backdrop too.)\u003c/p>\n\u003cfigure id=\"attachment_13919559\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg\" alt=\"Close-up view of rack of cassettes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes for sale at Eternal Now. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was our space together, so when Will started to put together the concept of the shop, it was really a no-brainer to design the shop as an extension of the design back here in The Palace,” Madigan explains.\u003c/p>\n\u003cp>Building out the shop took them six months. At the beginning of 2022, Madigan was in a severe car accident that impacted her ability to walk, let alone physically work on creating a new world. So while she began the store construction, she also started the recovery process, and it became a part of the story of Eternal Now.\u003c/p>\n\u003cp>“It kept me still and kept me here in the space 24/7 for months, and that was unexpected,” she says. “A silver lining there was that I was able to be in the space all the time, and I connected to it in a completely different way.”\u003c/p>\n\u003cp>Opening Eternal Now up to others and watching people relate to a space the co-owners poured so much time and energy has been astonishing for the team. Schwartz describes seeing people inside the store as a surreal experience. No many people get to see their hopes manifest as precisely as planned. “It’s a little bit of a trip, opening up your home in this way,” Bundy says. “Mostly, it feels really good. People have said such kind things about the space and are just really here for it.”\u003c/p>\n\u003cfigure id=\"attachment_13919552\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg\" alt=\"Colorful books and records in a white wallled and floored space \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking down at the store from the lofted listening station. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening, the co-owners have felt the support of the local community. “I feel like it’s making Oakland feel both bigger and smaller at the same,” Bundy explains. He describes the store as a home for beautiful objects. And though the shop is clean and serene, Eternal Now isn’t sterile. The books, cassette tapes, vinyl records, and magazines add color to the decor. Bundy encourages people to explore the store and the things in it. Visitors can read the books on the shelves, take the records out of the plastic and listen to them, or just relax and take in the atmosphere.\u003c/p>\n\u003cp>In this space, Bundy, Madigan and Schwartz can support the art of the people they love in the Bay Area. Soon, they will partner with the San Francisco nonprofit Southern Exposure to present artwork by local artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It has been more fulfilling than I even anticipated or could’ve even imagined,” Madigan says after the long months of work. “Having the space open to the public, and seeing that happen.”\u003c/p>\n\n",
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"title": "Eternal Now, a West Oakland Artistic Oasis, is Open for Business | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stepping into \u003ca href=\"https://www.instagram.com/eternalnow.space/\" target=\"_blank\" rel=\"noopener noreferrer\">Eternal Now\u003c/a> feels like entering another country. On Friday, Aug. 26, the combination bookstore and record shop, housed within an inconspicuous black building on West Oakland’s San Pablo Avenue, was packed almost to the brim to see rappers and producers Alexander Spit and Ovrkast. Will Bundy, one of the shop owners (and former director of the mini-festival \u003ca href=\"https://www.kqed.org/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a>), was handling purchases and drinks while Spit made beats live.\u003c/p>\n\u003cp>When it’s not acting as a show venue, the shop, which opened its doors at the start of June, is a calming escape. Light bounces off the white walls; the vibe is a beachside villa. Bundy, along with Ali Madigan, the lead designer on the space, and Jared (Stretch) Schwartz, Bundy’s business partner, make up the Eternal Now team. Bundy and Schwartz handle the inner workings of running the store, including the customer-facing day-to-day activities, and Madigan manages the design duties.\u003c/p>\n\u003cfigure id=\"attachment_13919551\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg\" alt=\"Door open on sidewalk in black-painted facade.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eternal Now’s unassuming storefront on San Pablo Avenue. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want people to feel like they’ve entered a portal into something new, or an oasis, or into a space where they can really get lost in a book, or into the music they’re listening to,” Bundy explains. The store’s hours are limited (Saturdays and Sundays, 1–6pm and by appointment) simply because this is not only a storefront for Bundy. He lives there too.\u003c/p>\n\u003cp>Behind the Eternal Now storefront lies “The Palace,” the space Bundy and Madigan have called home for the last five years. The storefront and living space have morphed dramatically over time. In the 1930s, it was a bar; 30 years later, it briefly became a laundromat. When Bundy and Madigan moved in, they used what is now the store as Madigan’s workshop, where she would work on set and clothing designs.\u003c/p>\n\u003cp>“When we came, it was a lot of windowless rooms and old drywall, and we just basically ripped everything out,” Madigan says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That empty space was a blank canvas for Madigan’s approach to interior design: The Palace was where she tested out ideas with mirrors, curved white planes, small seating areas, geometric shapes and exposed brick. For Eternal Now, Madigan used wooden stairs, metal railings and a lofted platform to create a listening station. “We really played that up, sort of this idea of this secret palace in the back,” she says. (It makes for a great Instagram backdrop too.)\u003c/p>\n\u003cfigure id=\"attachment_13919559\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg\" alt=\"Close-up view of rack of cassettes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes for sale at Eternal Now. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was our space together, so when Will started to put together the concept of the shop, it was really a no-brainer to design the shop as an extension of the design back here in The Palace,” Madigan explains.\u003c/p>\n\u003cp>Building out the shop took them six months. At the beginning of 2022, Madigan was in a severe car accident that impacted her ability to walk, let alone physically work on creating a new world. So while she began the store construction, she also started the recovery process, and it became a part of the story of Eternal Now.\u003c/p>\n\u003cp>“It kept me still and kept me here in the space 24/7 for months, and that was unexpected,” she says. “A silver lining there was that I was able to be in the space all the time, and I connected to it in a completely different way.”\u003c/p>\n\u003cp>Opening Eternal Now up to others and watching people relate to a space the co-owners poured so much time and energy has been astonishing for the team. Schwartz describes seeing people inside the store as a surreal experience. No many people get to see their hopes manifest as precisely as planned. “It’s a little bit of a trip, opening up your home in this way,” Bundy says. “Mostly, it feels really good. People have said such kind things about the space and are just really here for it.”\u003c/p>\n\u003cfigure id=\"attachment_13919552\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg\" alt=\"Colorful books and records in a white wallled and floored space \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking down at the store from the lofted listening station. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening, the co-owners have felt the support of the local community. “I feel like it’s making Oakland feel both bigger and smaller at the same,” Bundy explains. He describes the store as a home for beautiful objects. And though the shop is clean and serene, Eternal Now isn’t sterile. The books, cassette tapes, vinyl records, and magazines add color to the decor. Bundy encourages people to explore the store and the things in it. Visitors can read the books on the shelves, take the records out of the plastic and listen to them, or just relax and take in the atmosphere.\u003c/p>\n\u003cp>In this space, Bundy, Madigan and Schwartz can support the art of the people they love in the Bay Area. Soon, they will partner with the San Francisco nonprofit Southern Exposure to present artwork by local artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It has been more fulfilling than I even anticipated or could’ve even imagined,” Madigan says after the long months of work. “Having the space open to the public, and seeing that happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Love and Magic Abound on Mystic’s ‘Dreaming in Cursive: The Girl Who Loved Sparklers’",
"headTitle": "Love and Magic Abound on Mystic’s ‘Dreaming in Cursive: The Girl Who Loved Sparklers’ | KQED",
"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There’s a feeling of magic in \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>’s \u003ci>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/i>. The Oakland hip-hop artist, originally a member of Digital Underground in the ’90s, recently released her first solo album in eight years. After \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener noreferrer\">leaving a record deal and pursuing a second career as an educator\u003c/a>, Mystic is on her own timeline, making what she calls “healed Black woman music” outside the constraints of the industry. And \u003ci>Dreaming in Cursive\u003c/i> was well worth the wait. [aside postid='arts_13906176']\u003c/p>\n\u003cp>In a world full of suffering, Mystic finds an antidote by inviting her inner child out to play. While she acknowledges hard truths about violence and abuses of power, her activist message is also about nurturing feelings of love, hope and wonder. Those two themes are often intertwined in her work and life: Last month, to honor her late friend and collaborator Shock G, she and her Digital Underground family partnered with the community group \u003ca href=\"https://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> to distribute over 2,000 meals to Oakland residents in need. On \u003ci>Dreaming in Cursive\u003c/i>, the personal and collective are also linked, and the 14 tracks and poetic interludes present Mystic’s healing and the world’s healing as two parts of the same process.\u003c/p>\n\u003cp>“As somebody who has experienced trauma, it’s only through part of the healing process that I could return to that playfulness, that I could return to that imagination,” says Mystic, who intentionally incorporated children’s voices on the record to underscore the uplifting mood.\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\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Dreaming in Cursive\u003c/i> celebrates the love of self, family, friends and community, and there’s a heavy emphasis on sensuality and romance as well. “Every song is actually a love song, but in a different context,” she says.\u003c/p>\n\u003cp>A standout track is “Butter (Green Light),” where Mystic raps over an uptempo, classic hip-hop beat with a warm guitar, as flirtatious giggles ring out in the background. “It’s a good thing, I’m in your sweet thing / The green light goes both ways / When I’m in your arms as the sun sets / It’s been a marvelous day,” she repeats before the chorus. The feel-good track captures a magical spark of mutual admiration, the kind of connection that makes you feel completely present in your loved one’s company.\u003c/p>\n\u003cp>“When I was younger, I could just think that you’re the one, right? I wasn’t too concerned whether it went both ways—I wanted it to go both ways. And I think part of the wisdom that I’ve gotten is when it doesn’t go both ways, that’s not where you’re supposed to be,” she says. “We each deserve to be loved passionately, to be celebrated, to be listened to and held and inspired.”\u003c/p>\n\u003cp>The interludes between tracks give insight into this evolution as Mystic has learned over the years to love and trust herself. On “Alive and Free (Interlude),” which precedes another charmingly sincere love song called “Magic (Let Yourself Go),” Mystic and her friend Angela chat about breaking free from expectations imposed onto women and leaving a scarcity mindset behind.\u003c/p>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We can be so caught in our struggle that it can feel like it’s enough to be here and alive,” she says. “But like, don’t you want to thrive?” When the two friends laugh together, it’s the sound of two people who’ve been through some things and risen above.\u003c/p>\n\u003cp>“Angela is one of my forever-and-a-day sisters,” Mystic says. They met over 20 years ago when Angela booked Digital Underground for a show in San Jose; they went on to be roommates and even toured together. On Mystic’s acclaimed 2001 debut album \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, Angela appears in an interlude just before the lead single “The Life,” an ode to people surviving oppression in America’s inner cities.\u003c/p>\n\u003cp>“We’ve been riding together ever since,” Mystic says. “And she has been through with me in my life as a support and as a sister from when I was still broken right to where I am now.” [aside postid='arts_13919270']\u003c/p>\n\u003cp>Now that the album is out, Mystic is working on her next endeavor: a short film she co-wrote, co-directed and stars in called \u003ci>A Black Love Trilogy\u003c/i>, which incorporates the forthcoming music videos for “Butter (Green Light),” “Still (Love)” and “Love (Always),” but is a standalone narrative. The project is in post-production, and she has plans to enter it into film festivals when it comes out in 2023.\u003c/p>\n\u003cp>“A lot of what we’re seeing [in pop culture] is love being transactional and toxic,” says Mystic. The film focuses on a couple finding their way back to each other after a rough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[It’s about] the redemption in Black love and the power of Black love to survive those challenges and to place it in the collective context, because our love doesn’t exist outside of our communities,” Mystic says. “I really just want to uplift healthy, loving, joyful love.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There’s a feeling of magic in \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>’s \u003ci>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/i>. The Oakland hip-hop artist, originally a member of Digital Underground in the ’90s, recently released her first solo album in eight years. After \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener noreferrer\">leaving a record deal and pursuing a second career as an educator\u003c/a>, Mystic is on her own timeline, making what she calls “healed Black woman music” outside the constraints of the industry. And \u003ci>Dreaming in Cursive\u003c/i> was well worth the wait. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a world full of suffering, Mystic finds an antidote by inviting her inner child out to play. While she acknowledges hard truths about violence and abuses of power, her activist message is also about nurturing feelings of love, hope and wonder. Those two themes are often intertwined in her work and life: Last month, to honor her late friend and collaborator Shock G, she and her Digital Underground family partnered with the community group \u003ca href=\"https://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> to distribute over 2,000 meals to Oakland residents in need. On \u003ci>Dreaming in Cursive\u003c/i>, the personal and collective are also linked, and the 14 tracks and poetic interludes present Mystic’s healing and the world’s healing as two parts of the same process.\u003c/p>\n\u003cp>“As somebody who has experienced trauma, it’s only through part of the healing process that I could return to that playfulness, that I could return to that imagination,” says Mystic, who intentionally incorporated children’s voices on the record to underscore the uplifting mood.\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Dreaming in Cursive\u003c/i> celebrates the love of self, family, friends and community, and there’s a heavy emphasis on sensuality and romance as well. “Every song is actually a love song, but in a different context,” she says.\u003c/p>\n\u003cp>A standout track is “Butter (Green Light),” where Mystic raps over an uptempo, classic hip-hop beat with a warm guitar, as flirtatious giggles ring out in the background. “It’s a good thing, I’m in your sweet thing / The green light goes both ways / When I’m in your arms as the sun sets / It’s been a marvelous day,” she repeats before the chorus. The feel-good track captures a magical spark of mutual admiration, the kind of connection that makes you feel completely present in your loved one’s company.\u003c/p>\n\u003cp>“When I was younger, I could just think that you’re the one, right? I wasn’t too concerned whether it went both ways—I wanted it to go both ways. And I think part of the wisdom that I’ve gotten is when it doesn’t go both ways, that’s not where you’re supposed to be,” she says. “We each deserve to be loved passionately, to be celebrated, to be listened to and held and inspired.”\u003c/p>\n\u003cp>The interludes between tracks give insight into this evolution as Mystic has learned over the years to love and trust herself. On “Alive and Free (Interlude),” which precedes another charmingly sincere love song called “Magic (Let Yourself Go),” Mystic and her friend Angela chat about breaking free from expectations imposed onto women and leaving a scarcity mindset behind.\u003c/p>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We can be so caught in our struggle that it can feel like it’s enough to be here and alive,” she says. “But like, don’t you want to thrive?” When the two friends laugh together, it’s the sound of two people who’ve been through some things and risen above.\u003c/p>\n\u003cp>“Angela is one of my forever-and-a-day sisters,” Mystic says. They met over 20 years ago when Angela booked Digital Underground for a show in San Jose; they went on to be roommates and even toured together. On Mystic’s acclaimed 2001 debut album \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, Angela appears in an interlude just before the lead single “The Life,” an ode to people surviving oppression in America’s inner cities.\u003c/p>\n\u003cp>“We’ve been riding together ever since,” Mystic says. “And she has been through with me in my life as a support and as a sister from when I was still broken right to where I am now.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that the album is out, Mystic is working on her next endeavor: a short film she co-wrote, co-directed and stars in called \u003ci>A Black Love Trilogy\u003c/i>, which incorporates the forthcoming music videos for “Butter (Green Light),” “Still (Love)” and “Love (Always),” but is a standalone narrative. The project is in post-production, and she has plans to enter it into film festivals when it comes out in 2023.\u003c/p>\n\u003cp>“A lot of what we’re seeing [in pop culture] is love being transactional and toxic,” says Mystic. The film focuses on a couple finding their way back to each other after a rough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[It’s about] the redemption in Black love and the power of Black love to survive those challenges and to place it in the collective context, because our love doesn’t exist outside of our communities,” Mystic says. “I really just want to uplift healthy, loving, joyful love.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mariah Carey Says We Should Finally Hear Her Secret 1995 Grunge Album",
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"content": "\u003cp>As Mariah Carey was recording her smash hit 1995 pop album \u003cem>Daydream\u003c/em>, she and her fellow musicians were also secretly putting together a grunge album.\u003c/p>\n\u003cp>Carey first mentioned the existence of the secret album in her \u003ca href=\"https://twitter.com/MariahCarey/status/1310242761908588544?s=20&t=QRTCtnCG9IXa-WMfOiDBKA\" target=\"_blank\" rel=\"noopener noreferrer\">2020 memoir\u003c/a>, \u003cem>The Meaning of Mariah Carey\u003c/em>. A version of the record was quietly released at the time under the band name Chick, titled \u003cem>Someone’s Ugly Daughter\u003c/em>, with Carey singing backup vocals.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K1pCtaeo3_0\u003c/p>\n\u003cp>In a new interview with the podcast \u003ca href=\"https://cms.megaphone.fm/channel/rollingstonemusicnow?selected=WWO2945552924\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone Music Now\u003c/em>\u003c/a>, Carey has shared that recordings of the alt-rock album with \u003cem>her\u003c/em> lead vocals have been found. And she hinted that the elusive project will finally be released.\u003c/p>\n\u003cp>“I think this unearthed version will become, yes, something we should hear,” she told \u003cem>Rolling Stone\u003c/em>. She suggested, without providing details, that she was even building on the record with an unnamed musician: “I’m working on a version of something where there’ll be another artist working on this with me as well.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carey described the project—recorded after long days in the studio while working on hits such as “Always Be My Baby”—as an outlet for herself during a period when she felt particularly constrained.\u003c/p>\n\u003cp>“I had no freedom during that time. That was my freedom, making that record,” she told the podcast.\u003c/p>\n\u003cp>Carey told \u003cem>Rolling Stone\u003c/em> she was inspired by bands such as Hole and Green Day at the time. She adopted an alter-ego, as she recalled in her book: “I was playing with the style of the breezy-grunge, punk-light white female singers who were popular at the time. You know the ones who seemed to be so carefree with their feelings and their image.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zJIGKt3YokQ\u003c/p>\n\u003cp>At the time, she recalls that there was some unease about her grunge lyrics. “I honestly wanted to put the record out back then under, you know, the same pseudonym, just put it out and be like, you know whatever, let them discover that it’s me,” she told \u003cem>Rolling Stone\u003c/em>. “But that idea was kind of stomped and squashed.”\u003c/p>\n\u003cp>[aside postid='pop_17288']Carey said she even did the album art—a cockroach and some scrawled lipstick. She remembers driving around, shouting lyrics to songs she wrote that nobody knew.\u003c/p>\n\u003cp>Ultimately, she said that a friend of hers named Clarissa Dane recorded lead vocals and wrote a grunge song with Carey, and it was released with Carey on backup vocals. That version is no longer widely available.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it seems like the version that Carey wants us to hear may be coming soon.\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=Mariah+Carey+says+we+should+finally+hear+her+secret+1995+grunge+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Mariah Carey was recording her smash hit 1995 pop album \u003cem>Daydream\u003c/em>, she and her fellow musicians were also secretly putting together a grunge album.\u003c/p>\n\u003cp>Carey first mentioned the existence of the secret album in her \u003ca href=\"https://twitter.com/MariahCarey/status/1310242761908588544?s=20&t=QRTCtnCG9IXa-WMfOiDBKA\" target=\"_blank\" rel=\"noopener noreferrer\">2020 memoir\u003c/a>, \u003cem>The Meaning of Mariah Carey\u003c/em>. A version of the record was quietly released at the time under the band name Chick, titled \u003cem>Someone’s Ugly Daughter\u003c/em>, with Carey singing backup vocals.\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/K1pCtaeo3_0'\n title='//www.youtube.com/embed/K1pCtaeo3_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a new interview with the podcast \u003ca href=\"https://cms.megaphone.fm/channel/rollingstonemusicnow?selected=WWO2945552924\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone Music Now\u003c/em>\u003c/a>, Carey has shared that recordings of the alt-rock album with \u003cem>her\u003c/em> lead vocals have been found. And she hinted that the elusive project will finally be released.\u003c/p>\n\u003cp>“I think this unearthed version will become, yes, something we should hear,” she told \u003cem>Rolling Stone\u003c/em>. She suggested, without providing details, that she was even building on the record with an unnamed musician: “I’m working on a version of something where there’ll be another artist working on this with me as well.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carey described the project—recorded after long days in the studio while working on hits such as “Always Be My Baby”—as an outlet for herself during a period when she felt particularly constrained.\u003c/p>\n\u003cp>“I had no freedom during that time. That was my freedom, making that record,” she told the podcast.\u003c/p>\n\u003cp>Carey told \u003cem>Rolling Stone\u003c/em> she was inspired by bands such as Hole and Green Day at the time. She adopted an alter-ego, as she recalled in her book: “I was playing with the style of the breezy-grunge, punk-light white female singers who were popular at the time. You know the ones who seemed to be so carefree with their feelings and their image.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zJIGKt3YokQ'\n title='//www.youtube.com/embed/zJIGKt3YokQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the time, she recalls that there was some unease about her grunge lyrics. “I honestly wanted to put the record out back then under, you know, the same pseudonym, just put it out and be like, you know whatever, let them discover that it’s me,” she told \u003cem>Rolling Stone\u003c/em>. “But that idea was kind of stomped and squashed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Carey said she even did the album art—a cockroach and some scrawled lipstick. She remembers driving around, shouting lyrics to songs she wrote that nobody knew.\u003c/p>\n\u003cp>Ultimately, she said that a friend of hers named Clarissa Dane recorded lead vocals and wrote a grunge song with Carey, and it was released with Carey on backup vocals. That version is no longer widely available.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But it seems like the version that Carey wants us to hear may be coming soon.\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=Mariah+Carey+says+we+should+finally+hear+her+secret+1995+grunge+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Newscasters excitedly reported measurable rain in Northern California this week, as the region experienced its first storm in what we hope is an actual rainy season. Strong winds blew golden leaves from the trees and onto front lawns, alongside Halloween decorations.\u003c/p>\n\u003cp>“We’re going into a season where things have to slow down, get colder, die away,” says multitalented musician \u003ca href=\"https://jennjohns.com/\">Jenn Johns\u003c/a> of this week’s official start of autumn. “That which does not serve you must go.”\u003c/p>\n\u003cp>To usher in the fall equinox, Johns, a vocalist known for her high energy and deep spirituality, is set to “rock and burn down the stage” at the New Parish on Sept. 23 for \u003ca href=\"https://jennjohns.com/event/4804447/612606007/the-gathering-a-harvest-ritual\">\u003ci>The Gathering: A Harvest Ritual\u003c/i>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/unnamed-800x1211.jpg\" alt=\"Jenn Johns performing at The New Parish in June 2021.\" width=\"800\" height=\"1211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-800x1211.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1020x1544.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-768x1162.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1015x1536.jpg 1015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1353x2048.jpg 1353w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1920x2906.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-scaled.jpg 1691w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenn Johns performing at the New Parish in June 2021. \u003ccite>(Leilani Lei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johns will be joined by a live band, as well as guest performances by Lalin St. Juste, Damon Tuner and DJs KKingboo and Aebldee. Along with music, there’ll be healthy locally farmed vegan food available for purchase; the entire event is about a holistic approach to transitioning through the seasons and supporting Johns’ latest album, \u003cem>Jenn Johns Live at the New Parish\u003c/em>.\u003c/p>\n\u003cp>The eight-track project, which drops this week, covers a wide array of emotions and musical genres: reggae, Afrobeat, shoutouts to hip-hop and flavors from all around the African Diaspora. Johns recorded the album on June 23, 2021, and calls it a snapshot of the times. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johns shows her vocal range, love of funk and connections to a higher power on the first track, “Opening.” On “Xjan jxon” there’s a moving monologue from mayoral candidate and community activist, Baba Greg Hodge. \u003c/p>\n\u003cp>Adding to the emotional weight of the show was the fact that Gift Of Gab, the talented Blackalicious MC who took Johns on her first tour, had passed just days prior. At the time of the recording, Johns hadn’t yet been informed of his passing, but she says, “when I was look back on it, I feel like his spirit visited me in that space. There was a different kind of liberation.”\u003c/p>\n\u003cp>[aside postID='arts_13878382']Transition and liberation are running themes in the project, and in Johns’ work as a whole. The evening of the recording, in fact, an audience member had recently been released after spending over 40 years in prison. But he wasn’t just a spectator—his work is featured on the album.\u003c/p>\n\u003cp>\u003ca href=\"https://archives.sfweekly.com/sanfrancisco/no-way-out/Content?oid=2175851\" target=\"_blank\" rel=\"noopener noreferrer\">Lonnie Morris,\u003c/a> co-founder and president of the violence prevention program \u003ca href=\"https://www.nomoretearssq.com/media\" target=\"_blank\" rel=\"noopener noreferrer\">No More Tears\u003c/a>, relayed lyrics to Johns via mailed letters and a series of phone calls while incarcerated.\u003c/p>\n\u003cp>On their collaborative song “Love Conquers,” Johns sings, “People asking me when will the violence cease? / Fill the world with love, and peace will never cease / People asking me, when will there be peace? / Fill their hearts with love, and we will all be free.”\u003c/p>\n\u003cp>Johns says she’ll never let go of the packet Morris mailed to her from prison. While she offered a few small suggestions and added some melodies, she gives Morris credit for the lyrics. “Lonnie is a force of nature and those were his words,” says Johns. “To me, I get the blessing of singing a song that he wrote.” \u003c/p>\n\u003cp>The album also features a verse from Mani Draper of Grand Nationxl, plus a live band consisting of Uriah Duffy, Mike Blankenship, Ben Misterka, Dame Drummer, Solas B. Lalgee, Howard Wiley and Geechi Taylor.\u003c/p>\n\u003cp>Johns is also currently working on what she says is a modern rendition of \u003cem>We Are The World\u003c/em>, the classic 1985 call for famine relief in Africa. Her version, she says, is about “the moral imperative around climate justice.” Johns is co-executive producing “Sasa Hivi” (a Swahili term meaning “right now”), a track of “Afro-Diasporic psychedelic soul,” featuring a long list of well-known musicians and Dr. Cornel West. \u003c/p>\n\u003cp>It all comes back to Johns’ belief that the biggest issue of our time is the environment. And as big as that problem may be, Johns says one path toward change is altering the way we consume this fall’s harvest.\u003c/p>\n\u003cp>“Every person has one thing that they can do that changes the world, and at minimum, it’s the way that you eat.”\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>Jenn Johns performs on Friday, Sept. 23, at the New Parish in Oakland. \u003ca href=\"https://jennjohns.com/event/4804447/612606007/the-gathering-a-harvest-ritual\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Newscasters excitedly reported measurable rain in Northern California this week, as the region experienced its first storm in what we hope is an actual rainy season. Strong winds blew golden leaves from the trees and onto front lawns, alongside Halloween decorations.\u003c/p>\n\u003cp>“We’re going into a season where things have to slow down, get colder, die away,” says multitalented musician \u003ca href=\"https://jennjohns.com/\">Jenn Johns\u003c/a> of this week’s official start of autumn. “That which does not serve you must go.”\u003c/p>\n\u003cp>To usher in the fall equinox, Johns, a vocalist known for her high energy and deep spirituality, is set to “rock and burn down the stage” at the New Parish on Sept. 23 for \u003ca href=\"https://jennjohns.com/event/4804447/612606007/the-gathering-a-harvest-ritual\">\u003ci>The Gathering: A Harvest Ritual\u003c/i>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13919273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/unnamed-800x1211.jpg\" alt=\"Jenn Johns performing at The New Parish in June 2021.\" width=\"800\" height=\"1211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-800x1211.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1020x1544.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-768x1162.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1015x1536.jpg 1015w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1353x2048.jpg 1353w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-1920x2906.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/unnamed-scaled.jpg 1691w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenn Johns performing at the New Parish in June 2021. \u003ccite>(Leilani Lei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johns will be joined by a live band, as well as guest performances by Lalin St. Juste, Damon Tuner and DJs KKingboo and Aebldee. Along with music, there’ll be healthy locally farmed vegan food available for purchase; the entire event is about a holistic approach to transitioning through the seasons and supporting Johns’ latest album, \u003cem>Jenn Johns Live at the New Parish\u003c/em>.\u003c/p>\n\u003cp>The eight-track project, which drops this week, covers a wide array of emotions and musical genres: reggae, Afrobeat, shoutouts to hip-hop and flavors from all around the African Diaspora. Johns recorded the album on June 23, 2021, and calls it a snapshot of the times. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Johns shows her vocal range, love of funk and connections to a higher power on the first track, “Opening.” On “Xjan jxon” there’s a moving monologue from mayoral candidate and community activist, Baba Greg Hodge. \u003c/p>\n\u003cp>Adding to the emotional weight of the show was the fact that Gift Of Gab, the talented Blackalicious MC who took Johns on her first tour, had passed just days prior. At the time of the recording, Johns hadn’t yet been informed of his passing, but she says, “when I was look back on it, I feel like his spirit visited me in that space. There was a different kind of liberation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Transition and liberation are running themes in the project, and in Johns’ work as a whole. The evening of the recording, in fact, an audience member had recently been released after spending over 40 years in prison. But he wasn’t just a spectator—his work is featured on the album.\u003c/p>\n\u003cp>\u003ca href=\"https://archives.sfweekly.com/sanfrancisco/no-way-out/Content?oid=2175851\" target=\"_blank\" rel=\"noopener noreferrer\">Lonnie Morris,\u003c/a> co-founder and president of the violence prevention program \u003ca href=\"https://www.nomoretearssq.com/media\" target=\"_blank\" rel=\"noopener noreferrer\">No More Tears\u003c/a>, relayed lyrics to Johns via mailed letters and a series of phone calls while incarcerated.\u003c/p>\n\u003cp>On their collaborative song “Love Conquers,” Johns sings, “People asking me when will the violence cease? / Fill the world with love, and peace will never cease / People asking me, when will there be peace? / Fill their hearts with love, and we will all be free.”\u003c/p>\n\u003cp>Johns says she’ll never let go of the packet Morris mailed to her from prison. While she offered a few small suggestions and added some melodies, she gives Morris credit for the lyrics. “Lonnie is a force of nature and those were his words,” says Johns. “To me, I get the blessing of singing a song that he wrote.” \u003c/p>\n\u003cp>The album also features a verse from Mani Draper of Grand Nationxl, plus a live band consisting of Uriah Duffy, Mike Blankenship, Ben Misterka, Dame Drummer, Solas B. Lalgee, Howard Wiley and Geechi Taylor.\u003c/p>\n\u003cp>Johns is also currently working on what she says is a modern rendition of \u003cem>We Are The World\u003c/em>, the classic 1985 call for famine relief in Africa. Her version, she says, is about “the moral imperative around climate justice.” Johns is co-executive producing “Sasa Hivi” (a Swahili term meaning “right now”), a track of “Afro-Diasporic psychedelic soul,” featuring a long list of well-known musicians and Dr. Cornel West. \u003c/p>\n\u003cp>It all comes back to Johns’ belief that the biggest issue of our time is the environment. And as big as that problem may be, Johns says one path toward change is altering the way we consume this fall’s harvest.\u003c/p>\n\u003cp>“Every person has one thing that they can do that changes the world, and at minimum, it’s the way that you eat.”\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>Jenn Johns performs on Friday, Sept. 23, at the New Parish in Oakland. \u003ca href=\"https://jennjohns.com/event/4804447/612606007/the-gathering-a-harvest-ritual\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Musicians Are Back On the Road, But Every Day Is a Gamble",
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"content": "\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” [aside postid='arts_13918908']\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. [aside postid='arts_13918796']\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” [aside postid='arts_13919062']\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights",
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"content": "\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>[aside postID='arts_12731274']But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\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>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\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>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
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