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"title": "6 Artists You Shouldn't Miss At Noise Pop 2022",
"headTitle": "6 Artists You Shouldn’t Miss At Noise Pop 2022 | KQED",
"content": "\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\u003c/p>\n\u003cp>https://youtu.be/TgGWi6xXVm8\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\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=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\u003c/p>\n\u003cp>https://youtu.be/ckQsqGYfTYc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\u003c/p>\n\u003cp>https://youtu.be/IFR6kGytCsI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\u003c/p>\n\u003cp>https://youtu.be/N2HzhXNi4mc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\u003c/p>\n\u003cp>https://youtu.be/BDb1oTfcmCI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\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/TgGWi6xXVm8'\n title='//www.youtube.com/embed/TgGWi6xXVm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\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.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\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=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\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/ckQsqGYfTYc'\n title='//www.youtube.com/embed/ckQsqGYfTYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\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/IFR6kGytCsI'\n title='//www.youtube.com/embed/IFR6kGytCsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\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/N2HzhXNi4mc'\n title='//www.youtube.com/embed/N2HzhXNi4mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\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/BDb1oTfcmCI'\n title='//www.youtube.com/embed/BDb1oTfcmCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix's 'jeen-yuhs: A Kanye Trilogy' is (Mostly) Genius",
"headTitle": "Netflix’s ‘jeen-yuhs: A Kanye Trilogy’ is (Mostly) Genius | KQED",
"content": "\u003cp>Netflix’s new docuseries, \u003cem>jeen-yuhs: A Kanye Trilogy\u003c/em>, is truly genius… for the first two-thirds, at least.\u003c/p>\n\u003cp>That’s not a bad average for an ambitious project: Assembled from footage recorded by old friends who have been trailing the mercurial rap star with a camera for over 20 years, \u003cem>jeen-yuhs\u003c/em> spans more than four hours divided into chunks about 90 minutes each.\u003c/p>\n\u003cp>[aside postid='pop_103462']The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X3d5rT7FGLE\u003c/p>\n\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>[aside postid='arts_13908594']Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uvb-1wjAtk4\u003c/p>\n\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>[aside postid='pop_49104']Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And is he okay now?\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=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first two episodes cover an intense time from the late 1990s until the mid 2000s, when \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye\u003c/a> had to convince the rap world he was more than just a talented producer. Unlikely as it seems now, back then, rap labels and executives weren’t sure that this skinny kid who had cooked up compelling beats for Jay-Z, Jermaine Dupri and Foxy Brown could really sell records on his own as a rapper—particularly after Kanye was in a car accident that created serious concerns about whether he could ever spit rhymes again.\u003c/p>\n\u003cp>The last installment ranges from the mid 2000s to 2020, when his friends—filmmakers Clarence “Coodie” Simmons and Chike Ozah—grew distant from Kanye and couldn’t provide the fly-on-the-wall perspective that makes the first two parts such a treasure. Here, the most valuable moments are when Simmons lets the camera run as Kanye jumps from topic to topic in a way that appears as if his mind is racing too fast for his mouth to keep up.\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/X3d5rT7FGLE'\n title='//www.youtube.com/embed/X3d5rT7FGLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Keeping the focus on Kanye’s music\u003c/h3>\n\u003cp>Simmons, a former standup comic who met Kanye in the mid-1990s while hosting a groundbreaking Chicago-based cable access show on rap called \u003cem>Channel Zero\u003c/em>, is the viewer’s guide through much of this. His narration and observations help mold what often seems like a collection of home video clips into a compelling story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, the best thing about the first two-thirds of \u003cem>jeen-yuhs\u003c/em> is how it centers the narrative on Kanye’s music.\u003c/p>\n\u003cp>As the docuseries begins, Kanye is desperate for a record deal as a recording artist. He has produced a sizable chunk of Jay-Z’s landmark record \u003cem>The Blueprint\u003c/em>, but finds even the executives at Hova’s label Roc-A-Fella records wish he would stop bugging them and just keep cranking out dope beats for other artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here is where \u003cem>jeen-yuhs \u003c/em>really pulls us into Kanye’s world—in one key scene, he walks the halls of Roc-A-Fella’s New York headquarters, jumping into offices to perform his songs for random executives. He has to pull out his retainer to spit rhymes properly.\u003c/p>\n\u003cp>Kanye eventually admits to the camera that he’s not like typical MCs. At a time when gangsta rap is hot, he hasn’t got street cred as an outlaw. He talks openly about being a momma’s boy. He raps onstage wearing a backpack.\u003c/p>\n\u003cp>“My mother’s an English teacher and she used to cultivate me,” he adds, noting that his dad was a Christian marriage counselor. “I feel like I can’t sell to you that I’m finna come up and take your life…just because I think that’s hot or what’s industry-ready.”\u003c/p>\n\u003cfigure id=\"attachment_13909612\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909612\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/jeen-yuhs_kanye-and-donda-ead5782828ad0c552d62b99149da2a3513d704f3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kanye West and his mom Donda laugh, sitting out on their old front porch steps. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of Kanye’s mother, Donda West; her presence casts a long shadow. Even casual fans know how much she has influenced his music, and in the first two installments of \u003cem>jeen-yuhs\u003c/em>, we see them together a lot. It’s obvious how her doting, powerful belief in Kanye fuels his own outrageous self-confidence (the second episode opens with home video footage of Kanye, at about 13 years old or so, rapping confidently at a family gathering).\u003c/p>\n\u003cp>When she dies of coronary artery disease and other factors in 2007—the docuseries features audio of the 911 call—\u003cem>jeen-yuhs\u003c/em> implies this loss presages a troubling series of issues for Kanye, whose public outbursts grow more erratic after his mother’s passing.\u003c/p>\n\u003ch3>Seeing the real stories behind a legend\u003c/h3>\n\u003cp>Fans will see behind the scenes of key moments in Kanye’s legend. After he finally got signed by Roc-A-Fella, the rapper was in a 2002 car accident which broke his jaw in three places—leading him to create a song while his mouth was still wired shut, called \u003cem>Through the Wire\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/uvb-1wjAtk4'\n title='//www.youtube.com/embed/uvb-1wjAtk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The docuseries’ second installment shows Kanye meeting with his dentist, pushing his recovery strategy to get back to work, while also filming footage that would be used in the song’s video. Because his record label wouldn’t spend money on his album, Kanye is also shown recording with friends, including Jamie Foxx, who had a professional-level studio in his home, complete with an engineer.\u003c/p>\n\u003cp>As he plays an early version of\u003cem> Through the Wire\u003c/em> for super-producer Pharrell Williams—who flips out when he hears it—you can’t help but wonder: \u003cem>Why doesn’t Kanye’s label see how big this record is going to be? \u003c/em>Eventually, Kanye spends $30,000 of his own money to make the song’s video, with Simmons and Ozah in the directors’ chairs; the video’s success convinces Roc-A-Fella to finally step up and finance production for his debut record.\u003c/p>\n\u003cp>That album—2004’s \u003cem>The College Dropout—\u003c/em>would eventually sell more than 3 million copies and be nominated for 10 Grammy awards.\u003c/p>\n\u003cp>More than filling out stories behind Kanye’s legend, these scenes show how the rapper constantly bet on his own talent and vision—even when few others shared that confidence. Whenever anyone doubted his skills or his promise, he was ready to slap a cassette tape in a machine and rap in their face until they got the message.\u003c/p>\n\u003cp>Unfortunately, as his career blew up, Kanye became less interested in having his old friends around to film him. The growing distance produces less intimate footage, turning\u003cem> jeen-yuhs\u003c/em>‘ third episode into a grab bag collection of headlines centered on Kanye’s erratic behavior.\u003c/p>\n\u003cp>(In one embarrassing moment at a Grammys afterparty, Kanye keeps calling Simmons by his friend Chike Ozah’s name, reinforcing how far outside his inner circle the filmmakers had found themselves.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, there are telling moments, even in the third installment. Simmons and his camera travel with Kanye overseas, where the rapper begins speaking so erratically at a small gathering, the director stops filming.\u003c/p>\n\u003cp>“Have you guys ever been locked up in handcuffs and put into a hospital because your brain was too big for your skull?” Kanye asks, his voice’s diction sounding markedly different than in the docuseries’ earlier installments. “I took bipolar medication last night to have a normal conversation and turn alien into English.”\u003c/p>\n\u003cp>Simmons, whose voice pops up regularly elsewhere in the docuseries to add context, declines to explain much in moments like this. Instead, he lets the footage do the most of talking, showing Kanye pontificating in tough-to-follow monologues at a home/recording studio in Wyoming while Justin Bieber looks on.\u003c/p>\n\u003cp>There’s also a lot missing in this final episode, including Kanye’s marriage to Kim Kardashian (and their contentious split) and details about the four children they have together.\u003c/p>\n\u003cp>In the end, this faltering third installment implies rather than directly states the answer to the largest question it poses from the very beginning: What happened to Kanye West?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And is he okay now?\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=Netflix%27s+%27jeen-yuhs%3A+A+Kanye+Trilogy%27+is+%28mostly%29+genius&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>NPR Music’s Tiny Desk series will celebrate Black History Month with Tiny Desk (home) concerts featuring legends in the world of R&B, jazz, gospel, and hip-hop. Each artist in this legacy lineup has helped to define Black music as we know it and will be performing a Tiny Desk concert for the first time.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In his Tiny Desk (home) concert, Too $hort asks: “How many artists you know that got relevant records in five decades?” The Oakland rapper answers by performing seven songs from his own discography, showcasing his extensive (yet still underrated) contributions to the growth of hip-hop on the West Coast. The expedition opens on a quiet, reflective note with a performance of $hort’s influential 1990 single “The Ghetto” before roaring to life with 1988’s “Life Is… Too $hort.” From his spot in downtown LA, BoomBox Studios, $hort delivers a dynamic, funk-laden performance, seamlessly cycling through scenes of women-chasing debauchery and politically-minded meditation.\u003c/p>\n\u003cp>Of course, Too $hort’s set list shows off the development of his sound, but it also underscores hip-hop’s evolution from a socially polarizing genre to a touchstone of cultural capital. Combined with an enthralling presence of persona, $hort’s jaw-dropping lyrics and minimal delivery influenced West Coast peers, like Snoop Dogg and Lil B, and beyond, like Lil Jon and UGK; his career, one of moving cassettes with local independent success to moving multiple platinum albums with national acclaim, established the Bay Area as a credible rapping hotspot, pushing the boundaries of hip-hop. Too $hort honors this history by shouting out his many collaborators over the years and sharing his legacy as a hip-hop titan with a spirited group of musicians – notably Curtis Crump Jr. and Techdizzle who steal the show with, respectively, their sax and drum work on “Gettin’ It” and “Blow The Whistle.” It’s a monumental moment for the Tiny Desk, and for those wondering, there’s more than enough of Too $hort’s favorite word to celebrate with.\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“The Ghetto”\u003c/li>\n\u003cli>“Life Is …Too $hort”\u003c/li>\n\u003cli>“Gettin’ It”\u003c/li>\n\u003cli>“Blow the Whistle”\u003c/li>\n\u003cli>“Ain’t My Girlfriend”\u003c/li>\n\u003cli>“Big Sexy Thang”\u003c/li>\n\u003cli>“Big Subwoofer”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Too $hort: vocals\u003c/li>\n\u003cli>Robert L. Mitchell “Techdizzle”: music director / drums\u003c/li>\n\u003cli>Curtis Crump Jr.: keys\u003c/li>\n\u003cli>Frank Abraham: bass\u003c/li>\n\u003cli>Ash Jangda: guitar\u003c/li>\n\u003cli>Maurice Smith: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>CREDITS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Recording Engineer: Migui Maloles\u003c/li>\n\u003cli>Monitor Engineer: Mateo Rodriguez\u003c/li>\n\u003cli>Mixing Engineer: Zach “Ekzakt” Perry\u003c/li>\n\u003cli>Directed By: Patrick “Embryo” Tapu\u003c/li>\n\u003cli>Camera Operator: Bryan Ramos and Robert Teegarden\u003c/li>\n\u003cli>Editor: Bryan Ramos\u003c/li>\n\u003cli>Coloring: Bryan Ramos\u003c/li>\n\u003cli>Gaffer: Mike Nelli\u003c/li>\n\u003cli>Grip: Jeremy Kemp\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Abby O’Neill\u003c/li>\n\u003cli>Video Producer: Joshua Bryant\u003c/li>\n\u003cli>Audio Mastering: Josh Rogosin\u003c/li>\n\u003cli>Tiny Production Team: Bobby Carter, Kara Frame, Maia Stern, Ashley Pointer, Sofie Hernandez-Simeonidis\u003c/li>\n\u003cli>Executive Producer: Keith Jenkins\u003c/li>\n\u003cli>Senior VP, Programming: Anya Grundmann\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Too+%24hort%3A+Tiny+Desk+%28Home%29+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Pq_u3F7xdo\u003c/p>\n\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Jason and Alicia Hall Moran discuss the upcoming concert with Ambrose Akinsmure, Howard Wiley, the Church of John Coltrane and more. ",
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"title": "An All-Star Jazz Lineup Explores the Great Migration in Berkeley | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\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/3Pq_u3F7xdo'\n title='//www.youtube.com/embed/3Pq_u3F7xdo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "100-Year-Old SF Community Music Center Breaks Ground on New Building",
"headTitle": "100-Year-Old SF Community Music Center Breaks Ground on New Building | KQED",
"content": "\u003cp>The \u003ca href=\"https://sfcmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Community Music Center\u003c/a> (CMC) is breaking ground Wednesday on a new building next door to its existing facility on Capp Street in The Mission.\u003c/p>\n\u003cp>Julie Rulyak Steinberg, executive director of the 100-year-old non-profit, says the expansion will almost double the number of students CMC serves, which currently stands at around 3,000.\u003c/p>\n\u003cp>“We have been short of space for about 30 years,” says Steinberg. “F\u003cb>\u003c/b>or us to be able to to continue to say we serve everyone, that’s really a high priority for us.”\u003c/p>\n\u003cp>The new building at 552 Capp Street will add soundproofed classroom and performance spaces as well as increase ADA accessibility. “We expect to welcome over a thousand new students to our expanded Mission campus,” Steinberg says.\u003c/p>\n\u003cp>CMC purchased the new building 10 years ago. Steinberg says it will cost around $15 million to renovate, of which around $13 million has already been raised through philanthropy and market tax credit financing\u003ci>. \u003c/i>The building is scheduled to open next February, capping a year of \u003ca href=\"https://sfcmc.org/centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">centennial celebrations\u003c/a> for the organization which also includes musical commissions and performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Roots that Go Back More Than A Century\u003c/strong>\u003c/p>\n\u003cp>The roots of CMC extend back over a century to 1912, to the founding of the music department at the Dolores Street Girl’s Club settlement house. Violinist and nurse Gertrude Field moved to San Francisco from New York to become its first director. She went on to establish CMC as an independent organization—then called Community Music School—in November 1921, in its current location at 544 Capp Street.\u003c/p>\n\u003cfigure id=\"attachment_13909454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-800x1111.jpg\" alt=\"\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-1106x1536.jpg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-1474x2048.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-scaled.jpg 1843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CMC Founding Director Gertude Field. \u003ccite>(Courtesy Community Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The students back then were primarily immigrant students in the settlement house tradition. So for them, CMC was a place to find community and to do the things that were common in settlement houses,” says Steinberg. “It was a place to practice English, a place to make music, a place to do crafts or do job training.”\u003c/p>\n\u003cp>\u003cstrong>CMC Today\u003c/strong>\u003c/p>\n\u003cp>The community-building and music-making aspects of that original mission are still very much at the heart of CMC’s work today.\u003c/p>\n\u003cp>The nonprofit provides solo and group lessons in a range of musical styles such as Chinese and Western classical, Latin and Jazz. There’s a Black Music Studies program, summer camps, a choir for older adults, and choir for people who self-identify as transgender, intersex, or gender-queer, among many other offerings.\u003c/p>\n\u003cp>The majority of the center’s students are under 18, come from low-income households and study for free or at a reduced cost. Nearly half of them identify as people of color. According to Steinberg, CMC gave out just over $2.9 million in direct financial aid last year.\u003cem> \u003c/em>Among the recipients is 17-year-old percussionist and Gateway High School Junior Gian Velásquez, who lives on the cusp of the Tenderloin and SOMA, and has been taking lessons and performing in groups at CMC since 2019.\u003c/p>\n\u003cfigure id=\"attachment_13909455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut.jpg 1472w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CMC student percussionist Gian Velásquez performing at a CMC summer program in the Mission in July 2021. \u003ccite>(Ana Velásquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being a low-income youth resident in public housing, most of the time, thinking about affordability is a very big aspect of my everyday life,” says Velásquez. “CMC is a blessing because I am able to just go there and receive a top quality music education for free.”\u003c/p>\n\u003cp>Velásquez says he hopes to become a professional musician someday.\u003c/p>\n\u003cp>“For me, CMC is opportunity,” he says. “It’s definitely a perfect breeding ground for for a young musician.”\u003c/p>\n\u003cp>\u003cstrong>Citywide and Neighborhood Impact\u003c/strong>\u003c/p>\n\u003cp>CMC’s impact can be felt across the city, as well as right in the Mission neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13909456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-800x590.jpg\" alt=\"\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CMC campus today. The nonprofit has been in this location for 100 years. \u003ccite>(Courtesy Community Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The San Francisco Community Music Center is truly a local treasure that has taught countless children and adults how to develop their musical talents for a century,” said San Francisco director of cultural affairs Ralph Remington in an email to KQED. “The expansion project will bring added vibrancy to its Capp Street location in the Mission District. Even after 100 years, CMC remains true to its mission: making music accessible to anyone with a desire to learn.”\u003c/p>\n\u003cp>“CMC is a strong partner. Our wide-ranging work together has included instrumental and vocal music programs for very young children and the young at heart,” said Mission Neighborhood Center chief operating officer José Rodríguez in an email, adding the collaboration between the two organizations goes back 35 years. “This expansion represents an opportunity to increase affordable access to music and music lessons to our communities in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A groundbreaking for the Community Music Center, with students and faculty from the Children’s Chorus, Mission District Young Musicians Program, Mission District Older Adult Choirs, and members of the SFUSD Mariachi Program, takes place Wednesday, Feb. 16, from 2pm–3pm. \u003ca href=\"https://sfcmc.org/#event%7Cbreaking-ground-on-a-new-century%7C1329\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://sfcmc.org/#event|breaking-ground-on-a-new-century|1329\u003c/p>\n\n",
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"excerpt": "The nonprofit's major renovation of a Victorian building at 552 Capp Street will add soundproofed spaces as well as increase ADA accessibility.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://sfcmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Community Music Center\u003c/a> (CMC) is breaking ground Wednesday on a new building next door to its existing facility on Capp Street in The Mission.\u003c/p>\n\u003cp>Julie Rulyak Steinberg, executive director of the 100-year-old non-profit, says the expansion will almost double the number of students CMC serves, which currently stands at around 3,000.\u003c/p>\n\u003cp>“We have been short of space for about 30 years,” says Steinberg. “F\u003cb>\u003c/b>or us to be able to to continue to say we serve everyone, that’s really a high priority for us.”\u003c/p>\n\u003cp>The new building at 552 Capp Street will add soundproofed classroom and performance spaces as well as increase ADA accessibility. “We expect to welcome over a thousand new students to our expanded Mission campus,” Steinberg says.\u003c/p>\n\u003cp>CMC purchased the new building 10 years ago. Steinberg says it will cost around $15 million to renovate, of which around $13 million has already been raised through philanthropy and market tax credit financing\u003ci>. \u003c/i>The building is scheduled to open next February, capping a year of \u003ca href=\"https://sfcmc.org/centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">centennial celebrations\u003c/a> for the organization which also includes musical commissions and performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Roots that Go Back More Than A Century\u003c/strong>\u003c/p>\n\u003cp>The roots of CMC extend back over a century to 1912, to the founding of the music department at the Dolores Street Girl’s Club settlement house. Violinist and nurse Gertrude Field moved to San Francisco from New York to become its first director. She went on to establish CMC as an independent organization—then called Community Music School—in November 1921, in its current location at 544 Capp Street.\u003c/p>\n\u003cfigure id=\"attachment_13909454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-800x1111.jpg\" alt=\"\" width=\"800\" height=\"1111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-800x1111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-1020x1417.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-768x1067.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-1106x1536.jpg 1106w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-1474x2048.jpg 1474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53725_Copy-of-Gertrude-Field.facing-camera-qut-scaled.jpg 1843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CMC Founding Director Gertude Field. \u003ccite>(Courtesy Community Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The students back then were primarily immigrant students in the settlement house tradition. So for them, CMC was a place to find community and to do the things that were common in settlement houses,” says Steinberg. “It was a place to practice English, a place to make music, a place to do crafts or do job training.”\u003c/p>\n\u003cp>\u003cstrong>CMC Today\u003c/strong>\u003c/p>\n\u003cp>The community-building and music-making aspects of that original mission are still very much at the heart of CMC’s work today.\u003c/p>\n\u003cp>The nonprofit provides solo and group lessons in a range of musical styles such as Chinese and Western classical, Latin and Jazz. There’s a Black Music Studies program, summer camps, a choir for older adults, and choir for people who self-identify as transgender, intersex, or gender-queer, among many other offerings.\u003c/p>\n\u003cp>The majority of the center’s students are under 18, come from low-income households and study for free or at a reduced cost. Nearly half of them identify as people of color. According to Steinberg, CMC gave out just over $2.9 million in direct financial aid last year.\u003cem> \u003c/em>Among the recipients is 17-year-old percussionist and Gateway High School Junior Gian Velásquez, who lives on the cusp of the Tenderloin and SOMA, and has been taking lessons and performing in groups at CMC since 2019.\u003c/p>\n\u003cfigure id=\"attachment_13909455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53722_Gian-Velasquez-qut.jpg 1472w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CMC student percussionist Gian Velásquez performing at a CMC summer program in the Mission in July 2021. \u003ccite>(Ana Velásquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Being a low-income youth resident in public housing, most of the time, thinking about affordability is a very big aspect of my everyday life,” says Velásquez. “CMC is a blessing because I am able to just go there and receive a top quality music education for free.”\u003c/p>\n\u003cp>Velásquez says he hopes to become a professional musician someday.\u003c/p>\n\u003cp>“For me, CMC is opportunity,” he says. “It’s definitely a perfect breeding ground for for a young musician.”\u003c/p>\n\u003cp>\u003cstrong>Citywide and Neighborhood Impact\u003c/strong>\u003c/p>\n\u003cp>CMC’s impact can be felt across the city, as well as right in the Mission neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13909456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-800x590.jpg\" alt=\"\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/RS53724_552_544_best_evastoyanov37345-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CMC campus today. The nonprofit has been in this location for 100 years. \u003ccite>(Courtesy Community Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The San Francisco Community Music Center is truly a local treasure that has taught countless children and adults how to develop their musical talents for a century,” said San Francisco director of cultural affairs Ralph Remington in an email to KQED. “The expansion project will bring added vibrancy to its Capp Street location in the Mission District. Even after 100 years, CMC remains true to its mission: making music accessible to anyone with a desire to learn.”\u003c/p>\n\u003cp>“CMC is a strong partner. Our wide-ranging work together has included instrumental and vocal music programs for very young children and the young at heart,” said Mission Neighborhood Center chief operating officer José Rodríguez in an email, adding the collaboration between the two organizations goes back 35 years. “This expansion represents an opportunity to increase affordable access to music and music lessons to our communities in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>A groundbreaking for the Community Music Center, with students and faculty from the Children’s Chorus, Mission District Young Musicians Program, Mission District Older Adult Choirs, and members of the SFUSD Mariachi Program, takes place Wednesday, Feb. 16, from 2pm–3pm. \u003ca href=\"https://sfcmc.org/#event%7Cbreaking-ground-on-a-new-century%7C1329\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://sfcmc.org/#event|breaking-ground-on-a-new-century|1329\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Classical Music Has a Diversity Problem. What Does the Solution Look Like?",
"headTitle": "Classical Music Has a Diversity Problem. What Does the Solution Look Like? | KQED",
"content": "\u003cp>\u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bingham\u003c/a> had just finished his work shift at an Apple Store in May 2021 when he saw the voicemail. He had been offered a commission as part of the \u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. Shocked, he went into the store’s changing area and stared at his reflection in the mirror.\u003c/p>\n\u003cp>Bingham had worked at the Apple Store since his days as a graduate student at New York University. After graduating in 2016, he juggled a full-time position there with a burgeoning composing career that included residencies at the Arapahoe Philharmonic and Boulder Symphony.\u003c/p>\n\u003cp>From 7am to 4pm, Bingham helped people fix their iPhones. From 5pm to around 10pm, he composed. And then he would do it all over again.\u003c/p>\n\u003cp>Being a finalist for the \u003ca href=\"https://sfcm.edu/emerging-black-composers-project\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>, or EBCP, has provided Bingham with an opportunity to start a new chapter in his life as a full-time composer. Upon receiving the news, he put in his two week’s notice and moved from New Jersey to San Francisco.\u003c/p>\n\u003cp>Bingham had applied to the EBCP without giving much thought as to whether or not he could win. He was simply hoping his work would pass before the eyes—and ears—of the renowned composers and conductors on the judging panel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project, a 10-year partnership between the San Francisco Conservatory of Music and San Francisco Symphony, aims to spotlight existing talent and nurture the next generation of Black composers in the U.S. While the EBCP doesn’t have the word “competition” in its name, it functions as one. The project has sparked a conversation about how much further classical music has to go to become truly equitable, and whether competitions are an effective tool to promote diversity.\u003c/p>\n\u003cfigure id=\"attachment_13909303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909303 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg\" alt=\"Daniel Bartholomew-Poyser conducts a concert at the San Francisco Symphony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Bartholomew-Poyser, conductor of engagement and education at the San Francisco Symphony, in a still from the film ‘Disruptor Conductor.’ \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Facing classical music’s whiteness\u003c/h2>\n\u003cp>“Historically, composers of color have had a much harder time getting their music performed and workshopped,” says \u003ca href=\"https://www.danielbartholomewpoyser.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Bartholomew-Poyser\u003c/a>, chair of the EBCP selection committee and the San Francisco Symphony’s resident conductor of engagement and education. “[The] project is an attempt to address some of that, and to provide points of access to young people from a community that has often previously been denied access.”\u003c/p>\n\u003cp>The San Francisco Conservatory of Music and the San Francisco Symphony launched the EBCP in the aftermath of the 2020 Black Lives Matter protests, which helped set off a racial reckoning within arts organizations nationwide. Major orchestras finally began to grapple with an ongoing problem: their failure to truly reflect their surrounding communities, both in concert programs and on stages.\u003c/p>\n\u003cp>“There’s an assumption that a composer is someone who is of European descent and usually a male,” says \u003ca href=\"http://www.trevorweston.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, who received the first-place EBCP commission in 2021. “Visibility is important so that people understand that this tradition has always included people of different backgrounds.”\u003c/p>\n\u003cfigure id=\"attachment_13909307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Trevor-Weston-portrait_photo-by-Ayano-Hisa-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Trevor Weston is a music professor at Drew University and the first-place winner of the 2021 Emerging Black Composers Project. \u003ccite>(Ayano-Hisa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weston received a $15,000 commission to compose a new work for the San Francisco Symphony, a rare opportunity for a contemporary composer. Due to the applicant pool’s strength, the selection committee named three additional finalists—Bingham, \u003ca href=\"http://www.shawnokpebholo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shawn Okpebholo\u003c/a> and \u003ca href=\"https://sumitonooka.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi Tonooka\u003c/a>. Each received an $8,000 commission to compose a work for the National Brass Ensemble, \u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> and San Francisco Conservatory of Music, respectively. The competition is \u003ca href=\"https://docs.google.com/forms/d/1XQT6eKgEt3SwAQbdAIzLy-hzmJuoidFFlpZkzwB-BRc/viewform?edit_requested=true&fbzx=-6884167788446881650\" target=\"_blank\" rel=\"noopener noreferrer\">accepting applications for its next cohort\u003c/a> through Feb. 14.\u003c/p>\n\u003cp>The four winners have also been receiving mentorship from San Francisco Symphony Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a>; \u003ca href=\"http://www.edwinoutwater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edwin Outwater\u003c/a>, the music director of the San Francisco Conservatory of Music; and Bartholomew-Poyser. (Bartholomew-Poyser replaced Michael Morgan, the beloved Oakland Symphony conductor—and one of the few Black music directors at a major orchestra—\u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\" target=\"_blank\" rel=\"noopener noreferrer\">who died last year\u003c/a>.)\u003c/p>\n\u003cp>The EBCP’s application guidelines encourage a degree in music performance, composition or “equivalent experience.” Such requirements can narrow down the pool of applicants to those who have taken more traditional career paths, says \u003ca href=\"https://tcarlisroberts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">T. Carlis Roberts\u003c/a>, a composer and former assistant professor of music at UC Berkeley. (Indeed, most of 2021’s winners aren’t exactly “emerging” artists. With the exception of Bingham, all are 40 or older and recognized in their field. The 2022 competition focuses on composers under 35.)\u003c/p>\n\u003cfigure id=\"attachment_13909308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sumi Tonooka, a jazz composer with 30 years of experience creating film scores, won second prize at the Emerging Black Composers Project in 2021. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that setting it up where there is this call, a narrow funnel for a couple people to get in on the program, is a setup for tokenization, versus really creating greater access on a broader scale,” says Roberts, who identifies as Black and mixed race.\u003c/p>\n\u003cp>Roberts says organizations that want to create equity, access and diversity should think about just what measures they are willing to take. “Does it mean having brown faces within the same frameworks and roles that have existed?” Roberts says. “Or do you really create a new type of musical conversation?”\u003c/p>\n\u003cp>For Roberts, the answer seems to be the latter. To truly be diverse, he says, organizations should help lead the way in creating a “new terrain” that no longer exclusively centers Western art music. Ultimately, Roberts hopes to see a restructuring of the entire performing arts industry. Often, large, majority white-led arts organizations receive multi-million dollar endowments while community groups that primarily serve communities of color scramble for limited funds.\u003c/p>\n\u003cp>Bartholomew-Poyser’s approach is slightly different. He’s spent a lot of time thinking about ways to increase diversity in the arts, and has crafted a list of questions for arts organizations to ask themselves when considering its equity work. He calls it the “perfect fifths of diversity,” and it consists of five questions: Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?\u003c/p>\n\u003cp>[pullquote size='large' citation='The ‘perfect fifths of diversity,’ according to Daniel Bartholomew-Poyser']Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?[/pullquote]\u003c/p>\n\u003cp>The EBCP mostly focuses on one: whose music is being performed. And Bartholomew-Poyser believes that, down the line, projects that seek to increase the number of Black composers will have a ripple effect on the entire classical music industry.\u003c/p>\n\u003cp>“I do believe having these composers highlighted will result in a more diverse audience,” Bartholomew-Poyser says. “But that will be eventually. Eventually.”\u003c/p>\n\u003cp>When asked to respond to concerns about the potential tokenization of contestants, Edwin Outwater of the San Francisco Conservatory of Music acknowledged there are “valid concerns,” and noted that the EBCP is indeed open to composers who don’t come from straightforwardly classical music backgrounds.\u003c/p>\n\u003cp>“In any competition, there are always boundaries that have to be drawn in the application process,” Outwater says. “If someone wins and is incredibly talented and does not have the hugest orchestral background per se, we’re going to provide support if that person really wants to write an orchestral piece.”\u003c/p>\n\u003cp>During the first year of the competition, the selection committee reviewed nearly 100 applications, including some from singer-songwriters, jazz composers and composers of church music, he adds.\u003c/p>\n\u003cfigure id=\"attachment_13909304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts a concert for the San Francisco Symphony’s SoundBox series. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of last year’s winners indeed bring influences from different musical backgrounds.\u003c/p>\n\u003cp>Tonooka, for example, is a jazz composer and pianist with 30 years of experience writing film scores, including for the Academy Award-nominated 1988 short \u003cem>Family Gathering\u003c/em>.\u003c/p>\n\u003cp>Okpebholo attributes most of his early musical education to the Salvation Army church. He grew up living in government housing in Lexington, Kentucky, and, though his mother could not afford private lessons, he joined a youth brass band. Soon, he started taking free music lessons with the composer \u003ca href=\"http://www.ussmusicandarts.org/james-curnow\" target=\"_blank\" rel=\"noopener noreferrer\">James Curnow\u003c/a>. (Originally, they were meant to be euphonium lessons, but Curnow began teaching him to compose when he was 14 years old.)\u003c/p>\n\u003cp>“Composition is very collaborative,” says Okpebholo, now a professor of composition and music theory at Wheaton College Conservatory of Music. “You need people to perform your music. … The end goal of working with people, or seeing people perform what you have created, was intriguing for me.”\u003c/p>\n\u003cfigure id=\"attachment_13909312\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg\" alt=\"\" width=\"760\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1-160x233.jpeg 160w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Okpebholo is a music theory and composition professor at Wheaton College Conservatory of Music. He won second prize in the 2021 Emerging Black Composers Project. \u003ccite>(Courtesy of Shawn Okpebholo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bingham echoed Okpebholo’s sentiments. For a composer, getting your music heard is just as important as writing the piece, he says. Nowadays, there are different ways to do this—posting on social media, organizing a concert of your own music or reaching out to record labels.\u003c/p>\n\u003cp>Competitions like the EBCP directly accomplish what these other methods don’t. That is, they provide an opportunity to deliver your work straight to the hands of famous composers including \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> and \u003ca href=\"https://www.wisemusicclassical.com/composer/330/Anthony-Davis/\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Davis\u003c/a>, who are both on the selection committee.\u003c/p>\n\u003cp>“All I had to do was hit a submit button,” Bingham adds.\u003c/p>\n\u003ch2>Recognizing Black talent that’s already here\u003c/h2>\n\u003cp>For Bingham, what really distinguished the competition from others of its kind was the opportunity to receive mentorship from a composer on the committee, as well as have access to the conservatory’s pool of resources.\u003c/p>\n\u003cp>“I felt that there was more gravity,” he says. “I’m only two months in, but so far I really do feel like I made the right decision.”\u003c/p>\n\u003cp>Living in San Francisco has enabled Bingham to more fully utilize the resources offered—including practice spaces and meetings with faculty, San Francisco Symphony collaborators and donors. Additionally, the conservatory has offered access to recording studios and musicians for \u003ca href=\"https://www.coolstoryrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Story Records\u003c/a>, a recording project Bingham created to highlight the work of Howard University composers such as Mark Fax, whose compositions were rescued from a trash bin after a custodian cleaned out Fax’s office following his death.\u003c/p>\n\u003cp>Fax is by no means the only Black composer whose work the industry has overlooked. Classical music’s whiteness is apparent—not just in the glossy program books in large concert halls, but also within the pages of the textbooks music students study.\u003c/p>\n\u003cp>Weston, who works as a music professor at Drew University in Madison, New Jersey, has spent decades teaching music theory. Seldom has he come across musical examples composed by Black or female composers in theory textbooks. This has in turn contributed to a narrative of classical music history that excludes the existence of minority and female composers, he says.\u003c/p>\n\u003cp>[pullquote size='large' citation='Trevor Weston']‘Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community.’[/pullquote]\u003c/p>\n\u003cp>“Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community,” says Weston, “There were people of African descent in the United States performing classical music before what we consider modern gospel was created. Many different communities have contributed to what we consider to be concert music or classical music.”\u003c/p>\n\u003cp>Some arts organizations have made incremental changes to respond to this issue.\u003c/p>\n\u003cp>On Jan. 31, the San Francisco Symphony released an hour-long educational video, “\u003ca href=\"https://www.sfsymphony.org/EducationCommunity/Musical-Heroes\" target=\"_blank\" rel=\"noopener noreferrer\">Musical Heroes: Stories of African American Composers\u003c/a>,” which explores the lives, work and impact of Florence Price, William Grant Still and George Walker.\u003c/p>\n\u003cp>The videos, hosted by Bartholomew-Poyser, and corresponding study guides were created to elevate these composers’ music and spark important classroom conversations on topics like the Chicago Black Renaissance and Jim Crow legislation.\u003c/p>\n\u003cp>The San Francisco Conservatory of Music announced Jan. 5 that it was partnering with the San Francisco Ballet to create \u003ca href=\"https://sfcm.edu/newsroom/san-francisco-conservatory-music-and-san-francisco-ballet-partner-new-fellowship-advance\" target=\"_blank\" rel=\"noopener noreferrer\">two fellowship positions for Black string players\u003c/a>, offering full-ride scholarships for the conservatory’s professional studies certificate in instrumental performance, performance opportunities with the San Francisco Ballet Orchestra and additional support.\u003c/p>\n\u003cp>The existence of these efforts at major arts organizations suggests a shift away from the more passive attitudes they held in previous decades. And, hopefully, they can make a difference in the long term.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We are there, and there are a lot of us,” says Okpebholo. “To engage more with people who look like me and who are doing things like I do—it’s very inspiring and empowering.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bingham\u003c/a> had just finished his work shift at an Apple Store in May 2021 when he saw the voicemail. He had been offered a commission as part of the \u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. Shocked, he went into the store’s changing area and stared at his reflection in the mirror.\u003c/p>\n\u003cp>Bingham had worked at the Apple Store since his days as a graduate student at New York University. After graduating in 2016, he juggled a full-time position there with a burgeoning composing career that included residencies at the Arapahoe Philharmonic and Boulder Symphony.\u003c/p>\n\u003cp>From 7am to 4pm, Bingham helped people fix their iPhones. From 5pm to around 10pm, he composed. And then he would do it all over again.\u003c/p>\n\u003cp>Being a finalist for the \u003ca href=\"https://sfcm.edu/emerging-black-composers-project\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>, or EBCP, has provided Bingham with an opportunity to start a new chapter in his life as a full-time composer. Upon receiving the news, he put in his two week’s notice and moved from New Jersey to San Francisco.\u003c/p>\n\u003cp>Bingham had applied to the EBCP without giving much thought as to whether or not he could win. He was simply hoping his work would pass before the eyes—and ears—of the renowned composers and conductors on the judging panel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project, a 10-year partnership between the San Francisco Conservatory of Music and San Francisco Symphony, aims to spotlight existing talent and nurture the next generation of Black composers in the U.S. While the EBCP doesn’t have the word “competition” in its name, it functions as one. The project has sparked a conversation about how much further classical music has to go to become truly equitable, and whether competitions are an effective tool to promote diversity.\u003c/p>\n\u003cfigure id=\"attachment_13909303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909303 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg\" alt=\"Daniel Bartholomew-Poyser conducts a concert at the San Francisco Symphony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Bartholomew-Poyser, conductor of engagement and education at the San Francisco Symphony, in a still from the film ‘Disruptor Conductor.’ \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Facing classical music’s whiteness\u003c/h2>\n\u003cp>“Historically, composers of color have had a much harder time getting their music performed and workshopped,” says \u003ca href=\"https://www.danielbartholomewpoyser.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Bartholomew-Poyser\u003c/a>, chair of the EBCP selection committee and the San Francisco Symphony’s resident conductor of engagement and education. “[The] project is an attempt to address some of that, and to provide points of access to young people from a community that has often previously been denied access.”\u003c/p>\n\u003cp>The San Francisco Conservatory of Music and the San Francisco Symphony launched the EBCP in the aftermath of the 2020 Black Lives Matter protests, which helped set off a racial reckoning within arts organizations nationwide. Major orchestras finally began to grapple with an ongoing problem: their failure to truly reflect their surrounding communities, both in concert programs and on stages.\u003c/p>\n\u003cp>“There’s an assumption that a composer is someone who is of European descent and usually a male,” says \u003ca href=\"http://www.trevorweston.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, who received the first-place EBCP commission in 2021. “Visibility is important so that people understand that this tradition has always included people of different backgrounds.”\u003c/p>\n\u003cfigure id=\"attachment_13909307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Trevor-Weston-portrait_photo-by-Ayano-Hisa-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Trevor Weston is a music professor at Drew University and the first-place winner of the 2021 Emerging Black Composers Project. \u003ccite>(Ayano-Hisa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weston received a $15,000 commission to compose a new work for the San Francisco Symphony, a rare opportunity for a contemporary composer. Due to the applicant pool’s strength, the selection committee named three additional finalists—Bingham, \u003ca href=\"http://www.shawnokpebholo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shawn Okpebholo\u003c/a> and \u003ca href=\"https://sumitonooka.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi Tonooka\u003c/a>. Each received an $8,000 commission to compose a work for the National Brass Ensemble, \u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> and San Francisco Conservatory of Music, respectively. The competition is \u003ca href=\"https://docs.google.com/forms/d/1XQT6eKgEt3SwAQbdAIzLy-hzmJuoidFFlpZkzwB-BRc/viewform?edit_requested=true&fbzx=-6884167788446881650\" target=\"_blank\" rel=\"noopener noreferrer\">accepting applications for its next cohort\u003c/a> through Feb. 14.\u003c/p>\n\u003cp>The four winners have also been receiving mentorship from San Francisco Symphony Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a>; \u003ca href=\"http://www.edwinoutwater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edwin Outwater\u003c/a>, the music director of the San Francisco Conservatory of Music; and Bartholomew-Poyser. (Bartholomew-Poyser replaced Michael Morgan, the beloved Oakland Symphony conductor—and one of the few Black music directors at a major orchestra—\u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\" target=\"_blank\" rel=\"noopener noreferrer\">who died last year\u003c/a>.)\u003c/p>\n\u003cp>The EBCP’s application guidelines encourage a degree in music performance, composition or “equivalent experience.” Such requirements can narrow down the pool of applicants to those who have taken more traditional career paths, says \u003ca href=\"https://tcarlisroberts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">T. Carlis Roberts\u003c/a>, a composer and former assistant professor of music at UC Berkeley. (Indeed, most of 2021’s winners aren’t exactly “emerging” artists. With the exception of Bingham, all are 40 or older and recognized in their field. The 2022 competition focuses on composers under 35.)\u003c/p>\n\u003cfigure id=\"attachment_13909308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sumi Tonooka, a jazz composer with 30 years of experience creating film scores, won second prize at the Emerging Black Composers Project in 2021. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that setting it up where there is this call, a narrow funnel for a couple people to get in on the program, is a setup for tokenization, versus really creating greater access on a broader scale,” says Roberts, who identifies as Black and mixed race.\u003c/p>\n\u003cp>Roberts says organizations that want to create equity, access and diversity should think about just what measures they are willing to take. “Does it mean having brown faces within the same frameworks and roles that have existed?” Roberts says. “Or do you really create a new type of musical conversation?”\u003c/p>\n\u003cp>For Roberts, the answer seems to be the latter. To truly be diverse, he says, organizations should help lead the way in creating a “new terrain” that no longer exclusively centers Western art music. Ultimately, Roberts hopes to see a restructuring of the entire performing arts industry. Often, large, majority white-led arts organizations receive multi-million dollar endowments while community groups that primarily serve communities of color scramble for limited funds.\u003c/p>\n\u003cp>Bartholomew-Poyser’s approach is slightly different. He’s spent a lot of time thinking about ways to increase diversity in the arts, and has crafted a list of questions for arts organizations to ask themselves when considering its equity work. He calls it the “perfect fifths of diversity,” and it consists of five questions: Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The EBCP mostly focuses on one: whose music is being performed. And Bartholomew-Poyser believes that, down the line, projects that seek to increase the number of Black composers will have a ripple effect on the entire classical music industry.\u003c/p>\n\u003cp>“I do believe having these composers highlighted will result in a more diverse audience,” Bartholomew-Poyser says. “But that will be eventually. Eventually.”\u003c/p>\n\u003cp>When asked to respond to concerns about the potential tokenization of contestants, Edwin Outwater of the San Francisco Conservatory of Music acknowledged there are “valid concerns,” and noted that the EBCP is indeed open to composers who don’t come from straightforwardly classical music backgrounds.\u003c/p>\n\u003cp>“In any competition, there are always boundaries that have to be drawn in the application process,” Outwater says. “If someone wins and is incredibly talented and does not have the hugest orchestral background per se, we’re going to provide support if that person really wants to write an orchestral piece.”\u003c/p>\n\u003cp>During the first year of the competition, the selection committee reviewed nearly 100 applications, including some from singer-songwriters, jazz composers and composers of church music, he adds.\u003c/p>\n\u003cfigure id=\"attachment_13909304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts a concert for the San Francisco Symphony’s SoundBox series. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of last year’s winners indeed bring influences from different musical backgrounds.\u003c/p>\n\u003cp>Tonooka, for example, is a jazz composer and pianist with 30 years of experience writing film scores, including for the Academy Award-nominated 1988 short \u003cem>Family Gathering\u003c/em>.\u003c/p>\n\u003cp>Okpebholo attributes most of his early musical education to the Salvation Army church. He grew up living in government housing in Lexington, Kentucky, and, though his mother could not afford private lessons, he joined a youth brass band. Soon, he started taking free music lessons with the composer \u003ca href=\"http://www.ussmusicandarts.org/james-curnow\" target=\"_blank\" rel=\"noopener noreferrer\">James Curnow\u003c/a>. (Originally, they were meant to be euphonium lessons, but Curnow began teaching him to compose when he was 14 years old.)\u003c/p>\n\u003cp>“Composition is very collaborative,” says Okpebholo, now a professor of composition and music theory at Wheaton College Conservatory of Music. “You need people to perform your music. … The end goal of working with people, or seeing people perform what you have created, was intriguing for me.”\u003c/p>\n\u003cfigure id=\"attachment_13909312\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg\" alt=\"\" width=\"760\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1-160x233.jpeg 160w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Okpebholo is a music theory and composition professor at Wheaton College Conservatory of Music. He won second prize in the 2021 Emerging Black Composers Project. \u003ccite>(Courtesy of Shawn Okpebholo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bingham echoed Okpebholo’s sentiments. For a composer, getting your music heard is just as important as writing the piece, he says. Nowadays, there are different ways to do this—posting on social media, organizing a concert of your own music or reaching out to record labels.\u003c/p>\n\u003cp>Competitions like the EBCP directly accomplish what these other methods don’t. That is, they provide an opportunity to deliver your work straight to the hands of famous composers including \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> and \u003ca href=\"https://www.wisemusicclassical.com/composer/330/Anthony-Davis/\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Davis\u003c/a>, who are both on the selection committee.\u003c/p>\n\u003cp>“All I had to do was hit a submit button,” Bingham adds.\u003c/p>\n\u003ch2>Recognizing Black talent that’s already here\u003c/h2>\n\u003cp>For Bingham, what really distinguished the competition from others of its kind was the opportunity to receive mentorship from a composer on the committee, as well as have access to the conservatory’s pool of resources.\u003c/p>\n\u003cp>“I felt that there was more gravity,” he says. “I’m only two months in, but so far I really do feel like I made the right decision.”\u003c/p>\n\u003cp>Living in San Francisco has enabled Bingham to more fully utilize the resources offered—including practice spaces and meetings with faculty, San Francisco Symphony collaborators and donors. Additionally, the conservatory has offered access to recording studios and musicians for \u003ca href=\"https://www.coolstoryrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Story Records\u003c/a>, a recording project Bingham created to highlight the work of Howard University composers such as Mark Fax, whose compositions were rescued from a trash bin after a custodian cleaned out Fax’s office following his death.\u003c/p>\n\u003cp>Fax is by no means the only Black composer whose work the industry has overlooked. Classical music’s whiteness is apparent—not just in the glossy program books in large concert halls, but also within the pages of the textbooks music students study.\u003c/p>\n\u003cp>Weston, who works as a music professor at Drew University in Madison, New Jersey, has spent decades teaching music theory. Seldom has he come across musical examples composed by Black or female composers in theory textbooks. This has in turn contributed to a narrative of classical music history that excludes the existence of minority and female composers, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community,” says Weston, “There were people of African descent in the United States performing classical music before what we consider modern gospel was created. Many different communities have contributed to what we consider to be concert music or classical music.”\u003c/p>\n\u003cp>Some arts organizations have made incremental changes to respond to this issue.\u003c/p>\n\u003cp>On Jan. 31, the San Francisco Symphony released an hour-long educational video, “\u003ca href=\"https://www.sfsymphony.org/EducationCommunity/Musical-Heroes\" target=\"_blank\" rel=\"noopener noreferrer\">Musical Heroes: Stories of African American Composers\u003c/a>,” which explores the lives, work and impact of Florence Price, William Grant Still and George Walker.\u003c/p>\n\u003cp>The videos, hosted by Bartholomew-Poyser, and corresponding study guides were created to elevate these composers’ music and spark important classroom conversations on topics like the Chicago Black Renaissance and Jim Crow legislation.\u003c/p>\n\u003cp>The San Francisco Conservatory of Music announced Jan. 5 that it was partnering with the San Francisco Ballet to create \u003ca href=\"https://sfcm.edu/newsroom/san-francisco-conservatory-music-and-san-francisco-ballet-partner-new-fellowship-advance\" target=\"_blank\" rel=\"noopener noreferrer\">two fellowship positions for Black string players\u003c/a>, offering full-ride scholarships for the conservatory’s professional studies certificate in instrumental performance, performance opportunities with the San Francisco Ballet Orchestra and additional support.\u003c/p>\n\u003cp>The existence of these efforts at major arts organizations suggests a shift away from the more passive attitudes they held in previous decades. And, hopefully, they can make a difference in the long term.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are there, and there are a lot of us,” says Okpebholo. “To engage more with people who look like me and who are doing things like I do—it’s very inspiring and empowering.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"headTitle": "It’s a New Era for Audium, San Francisco’s ‘Theater of Sound’ | KQED",
"content": "\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" 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>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "esperanza spalding Brings Wayne Shorter’s Opera to Life in Berkeley",
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"content": "\u003cp>At the San Francisco Symphony’s season opener last fall, esperanza spalding mesmerized the audience with \u003ca href=\"https://www.kqed.org/arts/13904122/the-san-francisco-symphony-returns-in-grand-adventurous-style\" target=\"_blank\" rel=\"noopener noreferrer\">her performance of \u003cem>Gaia\u003c/em>\u003c/a>, her collaboration with Wayne Shorter. The 88-year-old saxophonist and jazz luminary composed a cinematic piece that spoke to humanity’s connection to the earth. And spalding, 37 years old and a musical force in her own right, sang her original lyrics with a captivating intensity and improbable range. She was on double duty, playing bass backed by the orchestra, saxophonist Ravi Coltrane, NEA Jazz Master and drummer Terri Lynne Carrington and pianist Leo Genovese. The synergy of musical greatness on stage was nothing short of magic.\u003c/p>\n\u003cp>The San Francisco Symphony performance showcased the fascinating, \u003ca href=\"https://datebook.sfchronicle.com/music/esperanza-spalding-helps-jazz-legend-wayne-shorter-fulfill-his-operatic-dream-with-iphigenia\" target=\"_blank\" rel=\"noopener noreferrer\">intergenerational musical conversations\u003c/a> Shorter and spalding have been having since they wrote \u003cem>Gaia \u003c/em>in 2013. And now, their collaboration has culminated in Shorter’s first opera \u003cem>…(Iphigenia)\u003c/em>, which gets its West Coast premiere at Cal Performances at UC Berkeley’s Zellerbach Hall this Saturday, Feb. 12.\u003c/p>\n\u003cfigure id=\"attachment_13909194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1020x596.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-768x449.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1536x897.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic.png 1897w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">esperanza spalding and Wayne Shorter in rehearsal. \u003ccite>(Real Magic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story reimagines an Ancient Greek play, Euripides’ \u003cem>Iphigenia in Aulis\u003c/em>. In the original story, King Agamemnon offers his daughter, Iphigenia, as a sacrifice to the goddess Artemis on the eve of battle. But in Shorter and spalding’s take, Iphigenia gets to tell the story and question its misogynistic and militaristic impulses. spalding wrote the libretto and plays the title character, who is fractured into six personas.\u003c/p>\n\u003cp>A host of stellar collaborators worked on \u003cem>…(Iphigenia)\u003c/em>, including a 28-piece chamber ensemble, the rhythm section of Shorter’s quartet, nine vocalists, a chorus of 10 singers, set designer Frank Gehry (yes, the \u003ca href=\"https://www.architecturaldigest.com/gallery/best-of-frank-gehry-slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">world-renowned architect\u003c/a>) and Obie-winning director Lileana Blain-Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/iphigenia-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details for \u003cem>…(Iphigenia)\u003c/em> can be found here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the San Francisco Symphony’s season opener last fall, esperanza spalding mesmerized the audience with \u003ca href=\"https://www.kqed.org/arts/13904122/the-san-francisco-symphony-returns-in-grand-adventurous-style\" target=\"_blank\" rel=\"noopener noreferrer\">her performance of \u003cem>Gaia\u003c/em>\u003c/a>, her collaboration with Wayne Shorter. The 88-year-old saxophonist and jazz luminary composed a cinematic piece that spoke to humanity’s connection to the earth. And spalding, 37 years old and a musical force in her own right, sang her original lyrics with a captivating intensity and improbable range. She was on double duty, playing bass backed by the orchestra, saxophonist Ravi Coltrane, NEA Jazz Master and drummer Terri Lynne Carrington and pianist Leo Genovese. The synergy of musical greatness on stage was nothing short of magic.\u003c/p>\n\u003cp>The San Francisco Symphony performance showcased the fascinating, \u003ca href=\"https://datebook.sfchronicle.com/music/esperanza-spalding-helps-jazz-legend-wayne-shorter-fulfill-his-operatic-dream-with-iphigenia\" target=\"_blank\" rel=\"noopener noreferrer\">intergenerational musical conversations\u003c/a> Shorter and spalding have been having since they wrote \u003cem>Gaia \u003c/em>in 2013. And now, their collaboration has culminated in Shorter’s first opera \u003cem>…(Iphigenia)\u003c/em>, which gets its West Coast premiere at Cal Performances at UC Berkeley’s Zellerbach Hall this Saturday, Feb. 12.\u003c/p>\n\u003cfigure id=\"attachment_13909194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1020x596.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-768x449.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1536x897.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic.png 1897w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">esperanza spalding and Wayne Shorter in rehearsal. \u003ccite>(Real Magic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story reimagines an Ancient Greek play, Euripides’ \u003cem>Iphigenia in Aulis\u003c/em>. In the original story, King Agamemnon offers his daughter, Iphigenia, as a sacrifice to the goddess Artemis on the eve of battle. But in Shorter and spalding’s take, Iphigenia gets to tell the story and question its misogynistic and militaristic impulses. spalding wrote the libretto and plays the title character, who is fractured into six personas.\u003c/p>\n\u003cp>A host of stellar collaborators worked on \u003cem>…(Iphigenia)\u003c/em>, including a 28-piece chamber ensemble, the rhythm section of Shorter’s quartet, nine vocalists, a chorus of 10 singers, set designer Frank Gehry (yes, the \u003ca href=\"https://www.architecturaldigest.com/gallery/best-of-frank-gehry-slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">world-renowned architect\u003c/a>) and Obie-winning director Lileana Blain-Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/iphigenia-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details for \u003cem>…(Iphigenia)\u003c/em> can be found here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fantastic Negrito\u003c/a>’s rise has been fascinating to watch. And now that it’s been several years since he ascended from street busker to Grammy winner, the Oakland blues musician isn’t resting on his laurels. On the contrary, he’s coming out with some of the most compelling work of his career—songs that chew on some of the heaviest issues of our time, and move both body and mind.\u003c/p>\n\u003cp>Late last year, Fantastic Negrito and Oakland country singer Miko Marks teamed up for “\u003ca href=\"https://www.kqed.org/news/11888465/happiest-climate-change-song-ever-fantastic-negrito-and-rolling-through-california\" target=\"_blank\" rel=\"noopener noreferrer\">Rollin’ Through California\u003c/a>,” a foot-stomping, organ-driven track that takes stock of the damage from our state’s rampant wildfires. (Watch him and his band \u003ca href=\"https://www.youtube.com/watch?v=TjlIQOhiGlw\" target=\"_blank\" rel=\"noopener noreferrer\">perform it live at KQED’s headquarters\u003c/a>.)\u003c/p>\n\u003cp>And today, Fantastic Negrito dropped his new single and video for “Highest Bidder,” which—with lyrics in the vein of D’Angelo’s classic “\u003ca href=\"https://www.youtube.com/watch?v=nbG4QYKzRZE\" target=\"_blank\" rel=\"noopener noreferrer\">Devil’s Pie\u003c/a>”—remarks at the corruption of America’s unbridled capitalism. “Ohhh that bank is a serial killer / Trying to build more prisons for your children,” Fantastic Negrito sings in a falsetto to an African drum pattern and funk guitar.\u003c/p>\n\u003cp>https://youtu.be/QYtQO_rErxY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with the music video release, Fantastic Negrito announced his new visual album, \u003cem>White Jesus Black Problems\u003c/em>, which comes out June 3. It’s a historical concept album and film that reimagines a love story between Fantastic Negrito’s seven-times-great-grandparents, a Scottish indentured servant and an enslaved man from Africa. Fantastic Negrito often references how he gets his courage from his ancestors.\u003c/p>\n\u003cp>“We have to rise to the challenge. I believe that, and I come from a long line of people who have done that,” \u003ca href=\"https://www.kqed.org/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring\" target=\"_blank\" rel=\"noopener noreferrer\">he told me a year ago\u003c/a> when I asked how he was faring in the pandemic. This should be one of the artist’s most revealing projects yet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/Y37a91WvLwY\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. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fantastic Negrito\u003c/a>’s rise has been fascinating to watch. And now that it’s been several years since he ascended from street busker to Grammy winner, the Oakland blues musician isn’t resting on his laurels. On the contrary, he’s coming out with some of the most compelling work of his career—songs that chew on some of the heaviest issues of our time, and move both body and mind.\u003c/p>\n\u003cp>Late last year, Fantastic Negrito and Oakland country singer Miko Marks teamed up for “\u003ca href=\"https://www.kqed.org/news/11888465/happiest-climate-change-song-ever-fantastic-negrito-and-rolling-through-california\" target=\"_blank\" rel=\"noopener noreferrer\">Rollin’ Through California\u003c/a>,” a foot-stomping, organ-driven track that takes stock of the damage from our state’s rampant wildfires. (Watch him and his band \u003ca href=\"https://www.youtube.com/watch?v=TjlIQOhiGlw\" target=\"_blank\" rel=\"noopener noreferrer\">perform it live at KQED’s headquarters\u003c/a>.)\u003c/p>\n\u003cp>And today, Fantastic Negrito dropped his new single and video for “Highest Bidder,” which—with lyrics in the vein of D’Angelo’s classic “\u003ca href=\"https://www.youtube.com/watch?v=nbG4QYKzRZE\" target=\"_blank\" rel=\"noopener noreferrer\">Devil’s Pie\u003c/a>”—remarks at the corruption of America’s unbridled capitalism. “Ohhh that bank is a serial killer / Trying to build more prisons for your children,” Fantastic Negrito sings in a falsetto to an African drum pattern and funk guitar.\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/QYtQO_rErxY'\n title='//www.youtube.com/embed/QYtQO_rErxY'\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": "\u003cp>As an artist and educator, Karega Bailey maintained a message of peace, hope and liberation. But after he lost his brother to gun violence in 2014, his grief tested him; he felt sick with revenge and hopelessness.\u003c/p>\n\u003cp>Turning to his faith, family and writing, \u003ca href=\"https://www.solandlove.com\" target=\"_blank\" rel=\"noopener noreferrer\">Bailey\u003c/a>, who is the MC of \u003ca href=\"https://soldevelopment.bandcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">SOL Development\u003c/a>, an Oakland-based hip-hop, jazz and soul ensemble, eventually found his voice and purpose again. Crucial to that journey was connecting with \u003ca href=\"https://be-imaginative.org\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, a collective dedicated to healing Black and brown communities through storytelling. In healing circles and musical experiences, Bailey and SOL Development channeled their grief and love into tangible support for mothers whose children have been taken by gun violence.\u003c/p>\n\u003cp>Bailey’s story is at the center \u003ca href=\"https://www.whenthewatersgetdeep.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>When the Waters Get Deep\u003c/i>\u003c/a>, an award-winning short documentary that premieres on the \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts YouTube channel\u003c/a>, Thursday, Feb. 10 at 6pm PST. But the 36-minute documentary is also the story of \u003ca href=\"https://www.solaurenmusic.com\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Adams\u003c/a>, \u003ca href=\"https://www.mothermag.com/sol-affirmations-felicia-gangloff-bailey/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Gangloff-Bailey\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13896788/a-new-kind-of-mothers-day\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a>—the members of SOL Development— and members of BE-IMAGINATIVE, as they embody a new vision for how art and music can reflect a community’s pain and work to heal its traumas.\u003c/p>\n\u003cfigure id=\"attachment_13909116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg\" alt=\"Karega, sitting on floor, holds a family photo to the camera, as his parents sit on a couch behind him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karega Bailey, sitting with parents Sharon Bailey and Calbert “Sonny” Johnson, shares a photograph of his brother, Kareem Johnson. \u003ccite>(Elie M. Khadra )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I no longer could withhold the observation of living the Black experience,” says Bailey in a scene from the documentary. “We understand the helicopters. We understand police brutality. But we also understand our light within, and what our response can be to these circumstances.”\u003c/p>\n\u003cp>\u003ci>When the Waters Get Deep \u003c/i>won Best Short Documentary at the Oakland International Film Festival in 2020, and at the 2021 National Black Film Festival. The YouTube premiere will also include a new epilogue, and a live moderated chat with members of SOL Development, BE-IMAGINATIVE, and the filmmaking team.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As an artist and educator, Karega Bailey maintained a message of peace, hope and liberation. But after he lost his brother to gun violence in 2014, his grief tested him; he felt sick with revenge and hopelessness.\u003c/p>\n\u003cp>Turning to his faith, family and writing, \u003ca href=\"https://www.solandlove.com\" target=\"_blank\" rel=\"noopener noreferrer\">Bailey\u003c/a>, who is the MC of \u003ca href=\"https://soldevelopment.bandcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">SOL Development\u003c/a>, an Oakland-based hip-hop, jazz and soul ensemble, eventually found his voice and purpose again. Crucial to that journey was connecting with \u003ca href=\"https://be-imaginative.org\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, a collective dedicated to healing Black and brown communities through storytelling. In healing circles and musical experiences, Bailey and SOL Development channeled their grief and love into tangible support for mothers whose children have been taken by gun violence.\u003c/p>\n\u003cp>Bailey’s story is at the center \u003ca href=\"https://www.whenthewatersgetdeep.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>When the Waters Get Deep\u003c/i>\u003c/a>, an award-winning short documentary that premieres on the \u003ca href=\"https://www.youtube.com/channel/UCS7Oxr5knNkZ8SlryFZnq0g\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts YouTube channel\u003c/a>, Thursday, Feb. 10 at 6pm PST. But the 36-minute documentary is also the story of \u003ca href=\"https://www.solaurenmusic.com\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Adams\u003c/a>, \u003ca href=\"https://www.mothermag.com/sol-affirmations-felicia-gangloff-bailey/\" target=\"_blank\" rel=\"noopener noreferrer\">Felicia Gangloff-Bailey\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13896788/a-new-kind-of-mothers-day\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a>—the members of SOL Development— and members of BE-IMAGINATIVE, as they embody a new vision for how art and music can reflect a community’s pain and work to heal its traumas.\u003c/p>\n\u003cfigure id=\"attachment_13909116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg\" alt=\"Karega, sitting on floor, holds a family photo to the camera, as his parents sit on a couch behind him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/WWGD_Stills_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karega Bailey, sitting with parents Sharon Bailey and Calbert “Sonny” Johnson, shares a photograph of his brother, Kareem Johnson. \u003ccite>(Elie M. Khadra )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I no longer could withhold the observation of living the Black experience,” says Bailey in a scene from the documentary. “We understand the helicopters. We understand police brutality. But we also understand our light within, and what our response can be to these circumstances.”\u003c/p>\n\u003cp>\u003ci>When the Waters Get Deep \u003c/i>won Best Short Documentary at the Oakland International Film Festival in 2020, and at the 2021 National Black Film Festival. The YouTube premiere will also include a new epilogue, and a live moderated chat with members of SOL Development, BE-IMAGINATIVE, and the filmmaking team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Björk's Musical World Meets a Planet in Peril at Chase Center",
"headTitle": "Björk’s Musical World Meets a Planet in Peril at Chase Center | KQED",
"content": "\u003cfigure id=\"attachment_13909066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.main_.jpg\" alt=\"Bjork, in a dress of white puff balls, dances in front of a curtain of ribbon\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s elaborate production ‘Cornucopia’ brought the future of the planet in stark relief n Friday night at the Chase Center. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would give anything to go back in time and see Duke Ellington. Even in the later years, after famous members of his orchestra members had left. Even if he weren’t performing any hits at all. I would love to see Duke Ellington because everything Ellington played contained his distinct, singular vision. There’s even a term for it: \u003ca href=\"http://www.ellingtonia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ellingtonia\u003c/a>.\u003c/p>\n\u003cp>I thought of Duke Ellington on Friday night while watching Björk’s \u003cem>Cornucopia\u003c/em> at the Chase Center in San Francisco. Across the 100-minute production, she played no “hits,” and just two songs from the 1990s, the decade that the general public (and Billboard charts) most associate with her imaginative videos and singles. Instead, what transpired onstage was something better: \u003cem>Cornucopia\u003c/em> is the most expansive, extravagant outgrowth to date of Björk’s intricately honed creative voice. At this point, her output deserves its own descriptor, its own “Ellingtonia,” because there is clearly nobody on the planet who can do what Björk does.\u003c/p>\n\u003cfigure id=\"attachment_13909068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg\" alt=\"A woman plays a bass flute on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s seven-piece flute ensemble, Viibra, brought new textures to her material. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a setlist pulling mostly from the 2017 album \u003cem>Utopia\u003c/em>, the concert is music, fashion, art film, theater and symposium all in one. The songs featured electronics, percussion, harp, the Icelandic flute septet Viibra, and the occasional water bowl. The stage set resembled mushrooms, and the projections alternated between sea coral forms and root systems.\u003c/p>\n\u003cp>If this sounds like the soundtrack to a nature documentary, well, the show is certainly that, too, although one that’s realistic about the future of the planet if mankind continues on its destructive path. (It \u003ca href=\"https://www.livenation.com/event/G5vYZpVpiq0tX/bjork-cornucopia\" target=\"_blank\" rel=\"noopener noreferrer\">repeats on Tuesday, Feb. 8\u003c/a>, at the Chase Center.)\u003c/p>\n\u003cp>\u003cem>Cornucopia\u003c/em> opened with a stirring 10-minute invocation by the 18-piece Los Angeles choir \u003ca href=\"https://ourtonality.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Tonality\u003c/a>; the text of which drew from Greta Thunberg’s speech at the U.N.’s Climate Action Summit: “We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth / How dare you!”\u003c/p>\n\u003cfigure id=\"attachment_13909069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg\" alt=\"Bjork and an African American singer on stage, both dressed in white\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk performs ‘Blissing Me’ in a duet with serpentwithfeet. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, \u003cem>Cornucopia\u003c/em> is an extension of \u003cem>Biophilia\u003c/em>, the last tour Björk brought to the Bay Area in 2013 at the Craneway Pavilion in Richmond. That show, in the round and narrated by David Attenborough, effused with the wonder of nature and its fragility. That she should return nearly 10 years later with a message more urgent and foreboding is a reminder of how little progress our world leaders have made. Sometimes this manifested in projected messages about the Paris Agreement and the need for a “matriarchal dome” of ecological guardianship; during “Tabula Rasa,” it took the form of Björk singing “Let’s clean up / Break the chain of the fuckups of the fathers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For all the show’s didacticism (Thunberg appeared again later in the show, in a prerecorded video message), Björk presented it with such joy for life, continuously dancing carefree in an outfit of large bath lily-type adornments, that it didn’t feel like a lecture. While those in the Chase Center’s high-altitude upper deck would have benefitted from live screens projecting these details in some parts, the medium was the message. The imagination required to save the planet, after all, is the same sort required to conceptualize and build a large four-way flute ring, which was lowered around Björk from the ceiling and played by four members of Viibra during “Body Memory.”\u003c/p>\n\u003cfigure id=\"attachment_13909065\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13909065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg\" alt=\"Bjork in a feathery dress with decorations looking like flower stamens\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Björk sings one of two encores Friday night at the Chase Center in San Francisco. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for those hoping for older material, the night brought other breathtaking moments: Tonality replicating, a capella, the swelling arrangement of \u003cem>Vespertine\u003c/em>‘s “Hidden Place,” or the voice-and-flute duet of \u003cem>Debut\u003c/em>‘s “Venus as a Boy.” During “Isobel,” so many strands of Björk’s vision were present that I wished, once again, for a term like “Ellingtonia” to serve as shorthand for what I was witnessing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In place of shorthand, let us simply call it Björk, and appreciate it while she’s here.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13909066\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.main_.jpg\" alt=\"Bjork, in a dress of white puff balls, dances in front of a curtain of ribbon\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.main_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s elaborate production ‘Cornucopia’ brought the future of the planet in stark relief n Friday night at the Chase Center. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would give anything to go back in time and see Duke Ellington. Even in the later years, after famous members of his orchestra members had left. Even if he weren’t performing any hits at all. I would love to see Duke Ellington because everything Ellington played contained his distinct, singular vision. There’s even a term for it: \u003ca href=\"http://www.ellingtonia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ellingtonia\u003c/a>.\u003c/p>\n\u003cp>I thought of Duke Ellington on Friday night while watching Björk’s \u003cem>Cornucopia\u003c/em> at the Chase Center in San Francisco. Across the 100-minute production, she played no “hits,” and just two songs from the 1990s, the decade that the general public (and Billboard charts) most associate with her imaginative videos and singles. Instead, what transpired onstage was something better: \u003cem>Cornucopia\u003c/em> is the most expansive, extravagant outgrowth to date of Björk’s intricately honed creative voice. At this point, her output deserves its own descriptor, its own “Ellingtonia,” because there is clearly nobody on the planet who can do what Björk does.\u003c/p>\n\u003cfigure id=\"attachment_13909068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg\" alt=\"A woman plays a bass flute on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.flute_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk’s seven-piece flute ensemble, Viibra, brought new textures to her material. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a setlist pulling mostly from the 2017 album \u003cem>Utopia\u003c/em>, the concert is music, fashion, art film, theater and symposium all in one. The songs featured electronics, percussion, harp, the Icelandic flute septet Viibra, and the occasional water bowl. The stage set resembled mushrooms, and the projections alternated between sea coral forms and root systems.\u003c/p>\n\u003cp>If this sounds like the soundtrack to a nature documentary, well, the show is certainly that, too, although one that’s realistic about the future of the planet if mankind continues on its destructive path. (It \u003ca href=\"https://www.livenation.com/event/G5vYZpVpiq0tX/bjork-cornucopia\" target=\"_blank\" rel=\"noopener noreferrer\">repeats on Tuesday, Feb. 8\u003c/a>, at the Chase Center.)\u003c/p>\n\u003cp>\u003cem>Cornucopia\u003c/em> opened with a stirring 10-minute invocation by the 18-piece Los Angeles choir \u003ca href=\"https://ourtonality.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Tonality\u003c/a>; the text of which drew from Greta Thunberg’s speech at the U.N.’s Climate Action Summit: “We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth / How dare you!”\u003c/p>\n\u003cfigure id=\"attachment_13909069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg\" alt=\"Bjork and an African American singer on stage, both dressed in white\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Bjork.serpent2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Björk performs ‘Blissing Me’ in a duet with serpentwithfeet. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, \u003cem>Cornucopia\u003c/em> is an extension of \u003cem>Biophilia\u003c/em>, the last tour Björk brought to the Bay Area in 2013 at the Craneway Pavilion in Richmond. That show, in the round and narrated by David Attenborough, effused with the wonder of nature and its fragility. That she should return nearly 10 years later with a message more urgent and foreboding is a reminder of how little progress our world leaders have made. Sometimes this manifested in projected messages about the Paris Agreement and the need for a “matriarchal dome” of ecological guardianship; during “Tabula Rasa,” it took the form of Björk singing “Let’s clean up / Break the chain of the fuckups of the fathers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For all the show’s didacticism (Thunberg appeared again later in the show, in a prerecorded video message), Björk presented it with such joy for life, continuously dancing carefree in an outfit of large bath lily-type adornments, that it didn’t feel like a lecture. While those in the Chase Center’s high-altitude upper deck would have benefitted from live screens projecting these details in some parts, the medium was the message. The imagination required to save the planet, after all, is the same sort required to conceptualize and build a large four-way flute ring, which was lowered around Björk from the ceiling and played by four members of Viibra during “Body Memory.”\u003c/p>\n\u003cfigure id=\"attachment_13909065\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13909065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg\" alt=\"Bjork in a feathery dress with decorations looking like flower stamens\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/bjork.vert_.jpg 1280w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Björk sings one of two encores Friday night at the Chase Center in San Francisco. \u003ccite>(Santiago Felipe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for those hoping for older material, the night brought other breathtaking moments: Tonality replicating, a capella, the swelling arrangement of \u003cem>Vespertine\u003c/em>‘s “Hidden Place,” or the voice-and-flute duet of \u003cem>Debut\u003c/em>‘s “Venus as a Boy.” During “Isobel,” so many strands of Björk’s vision were present that I wished, once again, for a term like “Ellingtonia” to serve as shorthand for what I was witnessing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In place of shorthand, let us simply call it Björk, and appreciate it while she’s here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms",
"headTitle": "Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms | KQED",
"content": "\u003cp>An instrumental album about grief might make you imagine listening to calming tones in the dark. But \u003ca href=\"http://www.sharmi.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Sharmi Basu\u003c/a>’s new release as Beast Nest, \u003ci>Sicko\u003c/i> (\u003ca href=\"https://ratskin.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>), splashes the canvas—no, actually, the wall—with all the strange, contradictory emotional hues that accompany healing.\u003c/p>\n\u003cp>Basu composed \u003ci>Sicko\u003c/i> in the years since losing close friends and collaborators in the 2016 Ghost Ship fire, which killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 Oakland partygoers\u003c/a>. Billed as a “freak 4 freak, crazy 4 crazy wet blankie,” the album’s six electronic tracks embrace the messiness of grief.\u003c/p>\n\u003cp>As danceable beats guide the listener from abstract to accessible terrain, \u003ci>Sicko\u003c/i> takes us on an emotional ride that opens with the ambient, droning tones of a meditation. Quickly, sci-fi blips and bloops interrupt the connection to what sounds like a dispatch from the spiritual realm. Electronic noise blacks out pretty melodies like a swipe of spray paint. But moments of joy and hope bubble up as whimsical, fuzzy sounds, conjuring the textures of Koosh balls and cotton candy.\u003c/p>\n\u003cp>The compositions flow like the ups and downs that Basu went through in the months and years that followed the tragedy. “There was so much cuckoo energy going on, like any time you entered a space the grief was so thick you could touch it,” says Basu, who has been intimately involved in the Bay Area’s music scene for years as a performer, educator and executive director of Ratskin Records. Their work (notably their “\u003ca href=\"http://www.sharmi.info/decolonizing-sound-workshop\" target=\"_blank\" rel=\"noopener noreferrer\">Decolonizing Sound\u003c/a>” workshop) has appeared in major museums and universities, but they’ve stayed firmly rooted in the D.I.Y. underground scene.\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=1141726104/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>After Ghost Ship, Basu’s way of coping with so much loss was to throw themself into organizing mutual aid efforts and fundraisers for the fire survivors, victims’ loved ones and the displaced warehouse tenants. They attended funerals and vigils, and spoke out in the media about how the Bay Area’s unaffordable housing market forces artists to live and perform in unsafe conditions. And they showed up for peers by attending and playing as many shows as possible.\u003c/p>\n\u003cp>“I didn’t know how to be alone during that time,” Basu says.\u003c/p>\n\u003cp>Other people didn’t either, and powerful moments of togetherness came with inevitable tensions. Many people’s mental health suffered. “There were just so many different hard emotions that were bumping up against each other,” Basu says, calling the time “chaotic.”\u003c/p>\n\u003cp>They have a sense of humor about it all on \u003ci>Sicko\u003c/i>, which contains song titles like “Ur Doing Great Sweaty” and “Kim, People are Dying,” both references to \u003ca href=\"https://knowyourmeme.com/memes/youre-doing-amazing-sweetie\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian memes\u003c/a> (the socialite family’s reality show was Basu’s comfort viewing during the most isolating moments of the pandemic).\u003c/p>\n\u003cp>Amid the levity, other tracks reveal the enormity of the artist’s loss. One simply titled “Jsun” pays tribute to musician and illustrator \u003ca href=\"https://www.kqed.org/arts/12479036/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun McCarty\u003c/a>. He and Basu dated for two years while Basu was getting their MFA in electronic music at Mills College. Jsun was also close friends, musical collaborators and roommates with Ratskin Records co-founder Mike Daddona, and Basu practically lived at their house during the relationship. [aside postid='arts_13816362']\u003c/p>\n\u003cp>“He just supported me so intensely around that time, especially around my music stuff in a way I really hadn’t had anyone do before,” Basu says. On the track named in his honor, there’s a weighty sadness. A sparse melody becomes increasingly abstract until glitchy static takes over and eventually quiets down. It’s as if the track is a portal to what might lie beyond.\u003c/p>\n\u003cp>After Ghost Ship and the COVID-19 pandemic—and with the ever-increasing cost of living—Oakland’s experimental, underground arts scene is definitely still here. But the free-spirited sense of possibility has given way to tough realities. “It’s difficult to keep in touch with each other,” says Basu. “And I think it’s like, we still don’t know how to hold each other in collective grief as well as we would like to.”\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu and their dog, Beni. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to facilitate better communication, Basu’s vinyl release of \u003ci>Sicko\u003c/i> comes with a workbook with 50 questions about conflict and repair. The offering came out of their ongoing \u003ca href=\"http://www.sharmi.info/self-investigations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Self Investigations\u003c/i>\u003c/a> project, which has included interactive video installations, performance art pieces and workshops. “It first came out of thinking a lot about accountability and the ways that accountability processes fail within arts communities, within radical organizing communities,” says Basu, who is a trained conflict mediator.\u003c/p>\n\u003cp>“We need to learn how to work through shit together if we’re going to actually be able to organize, resist and have joy,” the artist explains. In their artist statement for \u003ci>Sicko\u003c/i>, they thank the people that stuck by them despite some “not cute behavior” and listened when Basu “call[ed] them out on the same.”\u003c/p>\n\u003cp>Up next, Basu has a residency at \u003ca href=\"https://www.temescalartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Temescal Art Center\u003c/a> starting in May, where they’ll continue their \u003ci>Self Investigations\u003c/i> project with an interactive installation that will cocoon visitors in a soothing environment and invite them to answer the self-reflection prompts from the workbook. (One light piece is activated by squeezing a teddy bear.) [aside postid='arts_13881725']\u003c/p>\n\u003cp>And, related to the trauma-informed thinking around \u003ci>Sicko\u003c/i>, the core Ratskin Records team of Basu, Daddona and Tieraney Carter are working on a virtual venue called \u003ca href=\"http://www.sharmi.info/news-wav/2021/12/2/eggwater-holosuites-preview-of-mixed-reality-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records Holosuites\u003c/a>, while deepening their understanding of accessibility and disability justice activism. (A preview of Holosuites was featured in a \u003ca href=\"https://soex.org/projects-exhibitions/interconnected\" target=\"_blank\" rel=\"noopener noreferrer\">juried group show last fall\u003c/a> at the San Francisco gallery Southern Exposure, where Basu works as an administrator by day.)\u003c/p>\n\u003cp>Virtual shows might have looked like they would fall out of favor when COVID vaccines first became available a year ago. But the unpredictability of the virus has proven that independent artists need to have multiple modes of performing and connecting with audiences.\u003c/p>\n\u003cp>“There’s so many different reasons people can’t go to shows, like accessibility physically if there’s stairs, if the door is too heavy, if the air is too cold—there’s all these things that we don’t think about. And then like, if your abusive ex is out at the show, or you work until 9pm or 10pm, or you have kids at home,” they explain. [aside postid='arts_13893843']\u003c/p>\n\u003cp>It’s that desire to create more nourishing and accepting spaces that has made Basu’s work so impactful. And if the past few years have taught us anything, it’s that alternative platforms can model how to best serve the physical and mental health needs of both audiences and artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With \u003ci>Sicko\u003c/i>, Basu doesn’t come to us fully healed, with some profound insight that makes meaning out of all this senseless tragedy. But in opening up their scars, they let their listeners know that they’re not alone.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An instrumental album about grief might make you imagine listening to calming tones in the dark. But \u003ca href=\"http://www.sharmi.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Sharmi Basu\u003c/a>’s new release as Beast Nest, \u003ci>Sicko\u003c/i> (\u003ca href=\"https://ratskin.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>), splashes the canvas—no, actually, the wall—with all the strange, contradictory emotional hues that accompany healing.\u003c/p>\n\u003cp>Basu composed \u003ci>Sicko\u003c/i> in the years since losing close friends and collaborators in the 2016 Ghost Ship fire, which killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 Oakland partygoers\u003c/a>. Billed as a “freak 4 freak, crazy 4 crazy wet blankie,” the album’s six electronic tracks embrace the messiness of grief.\u003c/p>\n\u003cp>As danceable beats guide the listener from abstract to accessible terrain, \u003ci>Sicko\u003c/i> takes us on an emotional ride that opens with the ambient, droning tones of a meditation. Quickly, sci-fi blips and bloops interrupt the connection to what sounds like a dispatch from the spiritual realm. Electronic noise blacks out pretty melodies like a swipe of spray paint. But moments of joy and hope bubble up as whimsical, fuzzy sounds, conjuring the textures of Koosh balls and cotton candy.\u003c/p>\n\u003cp>The compositions flow like the ups and downs that Basu went through in the months and years that followed the tragedy. “There was so much cuckoo energy going on, like any time you entered a space the grief was so thick you could touch it,” says Basu, who has been intimately involved in the Bay Area’s music scene for years as a performer, educator and executive director of Ratskin Records. Their work (notably their “\u003ca href=\"http://www.sharmi.info/decolonizing-sound-workshop\" target=\"_blank\" rel=\"noopener noreferrer\">Decolonizing Sound\u003c/a>” workshop) has appeared in major museums and universities, but they’ve stayed firmly rooted in the D.I.Y. underground scene.\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=1141726104/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>After Ghost Ship, Basu’s way of coping with so much loss was to throw themself into organizing mutual aid efforts and fundraisers for the fire survivors, victims’ loved ones and the displaced warehouse tenants. They attended funerals and vigils, and spoke out in the media about how the Bay Area’s unaffordable housing market forces artists to live and perform in unsafe conditions. And they showed up for peers by attending and playing as many shows as possible.\u003c/p>\n\u003cp>“I didn’t know how to be alone during that time,” Basu says.\u003c/p>\n\u003cp>Other people didn’t either, and powerful moments of togetherness came with inevitable tensions. Many people’s mental health suffered. “There were just so many different hard emotions that were bumping up against each other,” Basu says, calling the time “chaotic.”\u003c/p>\n\u003cp>They have a sense of humor about it all on \u003ci>Sicko\u003c/i>, which contains song titles like “Ur Doing Great Sweaty” and “Kim, People are Dying,” both references to \u003ca href=\"https://knowyourmeme.com/memes/youre-doing-amazing-sweetie\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian memes\u003c/a> (the socialite family’s reality show was Basu’s comfort viewing during the most isolating moments of the pandemic).\u003c/p>\n\u003cp>Amid the levity, other tracks reveal the enormity of the artist’s loss. One simply titled “Jsun” pays tribute to musician and illustrator \u003ca href=\"https://www.kqed.org/arts/12479036/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun McCarty\u003c/a>. He and Basu dated for two years while Basu was getting their MFA in electronic music at Mills College. Jsun was also close friends, musical collaborators and roommates with Ratskin Records co-founder Mike Daddona, and Basu practically lived at their house during the relationship. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He just supported me so intensely around that time, especially around my music stuff in a way I really hadn’t had anyone do before,” Basu says. On the track named in his honor, there’s a weighty sadness. A sparse melody becomes increasingly abstract until glitchy static takes over and eventually quiets down. It’s as if the track is a portal to what might lie beyond.\u003c/p>\n\u003cp>After Ghost Ship and the COVID-19 pandemic—and with the ever-increasing cost of living—Oakland’s experimental, underground arts scene is definitely still here. But the free-spirited sense of possibility has given way to tough realities. “It’s difficult to keep in touch with each other,” says Basu. “And I think it’s like, we still don’t know how to hold each other in collective grief as well as we would like to.”\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu and their dog, Beni. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to facilitate better communication, Basu’s vinyl release of \u003ci>Sicko\u003c/i> comes with a workbook with 50 questions about conflict and repair. The offering came out of their ongoing \u003ca href=\"http://www.sharmi.info/self-investigations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Self Investigations\u003c/i>\u003c/a> project, which has included interactive video installations, performance art pieces and workshops. “It first came out of thinking a lot about accountability and the ways that accountability processes fail within arts communities, within radical organizing communities,” says Basu, who is a trained conflict mediator.\u003c/p>\n\u003cp>“We need to learn how to work through shit together if we’re going to actually be able to organize, resist and have joy,” the artist explains. In their artist statement for \u003ci>Sicko\u003c/i>, they thank the people that stuck by them despite some “not cute behavior” and listened when Basu “call[ed] them out on the same.”\u003c/p>\n\u003cp>Up next, Basu has a residency at \u003ca href=\"https://www.temescalartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Temescal Art Center\u003c/a> starting in May, where they’ll continue their \u003ci>Self Investigations\u003c/i> project with an interactive installation that will cocoon visitors in a soothing environment and invite them to answer the self-reflection prompts from the workbook. (One light piece is activated by squeezing a teddy bear.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, related to the trauma-informed thinking around \u003ci>Sicko\u003c/i>, the core Ratskin Records team of Basu, Daddona and Tieraney Carter are working on a virtual venue called \u003ca href=\"http://www.sharmi.info/news-wav/2021/12/2/eggwater-holosuites-preview-of-mixed-reality-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records Holosuites\u003c/a>, while deepening their understanding of accessibility and disability justice activism. (A preview of Holosuites was featured in a \u003ca href=\"https://soex.org/projects-exhibitions/interconnected\" target=\"_blank\" rel=\"noopener noreferrer\">juried group show last fall\u003c/a> at the San Francisco gallery Southern Exposure, where Basu works as an administrator by day.)\u003c/p>\n\u003cp>Virtual shows might have looked like they would fall out of favor when COVID vaccines first became available a year ago. But the unpredictability of the virus has proven that independent artists need to have multiple modes of performing and connecting with audiences.\u003c/p>\n\u003cp>“There’s so many different reasons people can’t go to shows, like accessibility physically if there’s stairs, if the door is too heavy, if the air is too cold—there’s all these things that we don’t think about. And then like, if your abusive ex is out at the show, or you work until 9pm or 10pm, or you have kids at home,” they explain. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003ci>Sicko\u003c/i>, Basu doesn’t come to us fully healed, with some profound insight that makes meaning out of all this senseless tragedy. But in opening up their scars, they let their listeners know that they’re not alone.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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