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"content": "\u003cp>Picture it: On the sweaty, intimate top floor of the Legionnaire Saloon in downtown Oakland, hip-hop producers, jazz musicians and electronic artists mingle and dance. From its founding in 2013 through the months just before the pandemic, \u003ca href=\"https://smartbomboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Smartbomb\u003c/a> was where the Town’s experimental creatives could meet each other and check out new acts. So when everything went awry in 2020, the crew had to figure out how to keep the party going.\u003c/p>\n\u003cp>That’s where Smartbomb’s livestreamed artist showcase, Video Home System (VHS), came in. Rather than simply performing on Zoom, the crew made it a whole production, with digital visual elements accenting footage of stripped-down home concerts: Think NPR’s Tiny Desk Concert, but with special effects, and in the corner of the artist’s bedroom.\u003c/p>\n\u003cp>“The Video Home System project was our beacon of light. We hung onto it,” says Asonic Garcia, who founded Smartbomb alongside his then-band members from the experimental hip-hop group Secret Sidewalk. (He left the group in 2015.)\u003c/p>\n\u003cp>“As the world started to open up, we looked back, like, \u003cem>damn\u003c/em>. We were very thankful that we all banded together during that time instead of getting more divided.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r9H0cIaARpo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since their first stream in May of 2020, they’ve turned the VHS into a well-oiled machine. For that first episode, they had Oakland artist \u003ca href=\"https://www.instagram.com/flatspot_/\" rel=\"noopener noreferrer\" target=\"_blank\">Flatspot_.\u003c/a> produce live visuals with a grainy disposition that looked like videos shot on handheld cameras, in the style of ’90s home movies. Smartbomb member Tony Jarone took phone calls and questions from Instagram, telling the secrets of the universe like a TV fortune teller.\u003c/p>\n\u003cp>\u003ca href=\"https://livestream.com/accounts/30154863/events/9906562/videos/226824266/player?width=960&height=540&enableInfo=true&defaultDrawer=feed&autoPlay=true&mute=false\" target=\"_blank\" rel=\"noopener noreferrer\">Five episodes later\u003c/a>, in March 2022, the project’s following had grown enough to be featured in a live performance at San Francisco’s Institute of Contemporary Art.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gH4RFal-IF4\u003c/p>\n\u003cp>On Wednesday, April 13, Smartbomb returns to Oakland for its first live performance since the start of the pandemic, set in the new downtown venue Crybaby. The show will feature rapper and producer Ovrkast; Xyla, a French horn player who makes dance music by night; and the genre-bending R&B artist Astu, among others.\u003c/p>\n\u003cp>[aside postID='arts_13910010']Also on hand will be regular Smartbomb crew members like \u003ca href=\"https://www.flatspot.tv/\" rel=\"noopener noreferrer\" target=\"_blank\">Flatspot_.\u003c/a>, who’ll be doing live special effects; Mejiwahn, who runs the Oakland record label \u003ca href=\"https://soundcloud.com/hot-record-soci-t\" rel=\"noopener noreferrer\" target=\"_blank\">Hot Records Societe\u003c/a>; and Oakland music producer Pass Doo. Together, they’ll celebrate what Smartbomb has always been about: building a community of interdisciplinary artists who appreciate each other’s craft.\u003c/p>\n\u003cp>“The Crybaby show will be our opportunity to reconnect on those special levels of experience with our community, feeling unified in space and sound again,” Garcia explains. Pre-pandemic, there were plans to move to this same venue when it was still called The Uptown, so it also feels like a full-circle moment for the crew.\u003c/p>\n\u003cfigure id=\"attachment_13911661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715-800x533.jpg\" alt=\"smiling audience members enjoy a show in a darkly lit music venue\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audience members at a Smartbomb show at The Legionnaire on Dec. 21, 2019. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone has two years of energy stored up to let go,” he says. “Everyone’s been releasing themselves a little bit by a little bit, but there’s still a lot of energy that everyone needs to collectively release. I feel like dancefloors and shared community music events are these ultimate places for that.”\u003c/p>\n\u003cp>Last month at the Institute of Contemporary Art, Smartbomb curated a program combining all live music, short films, performances, and visual arts they showcased with VHS. After Crybaby, they’re booked to spin records at Oakland’s Bar Shiru on April 27, and they have a VHS episode scheduled to arrive sometime in May or June. The goal, as always, is to create new opportunities for artists all over the Bay.\u003c/p>\n\u003cp>“It’s only going to be the beginning of a new, post-pandemic musical movement that’s going to happen in Oakland,” Garcia says. “It’s going to be a lot of artists, a lot of collectives, a lot of events, a lot of groups, that are all going to be a part of it. I’m lucky to be in existence with all these people.”\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=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Smartbomb takes place at 8pm on Wednesday, April 13, at Crybaby in Oakland. \u003ca href=\"https://crybaby.live/event-details/11960655/smartbomb-with-ovrkast-xyla-astu-alora-4d-flatspot-abby-imperial-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also on hand will be regular Smartbomb crew members like \u003ca href=\"https://www.flatspot.tv/\" rel=\"noopener noreferrer\" target=\"_blank\">Flatspot_.\u003c/a>, who’ll be doing live special effects; Mejiwahn, who runs the Oakland record label \u003ca href=\"https://soundcloud.com/hot-record-soci-t\" rel=\"noopener noreferrer\" target=\"_blank\">Hot Records Societe\u003c/a>; and Oakland music producer Pass Doo. Together, they’ll celebrate what Smartbomb has always been about: building a community of interdisciplinary artists who appreciate each other’s craft.\u003c/p>\n\u003cp>“The Crybaby show will be our opportunity to reconnect on those special levels of experience with our community, feeling unified in space and sound again,” Garcia explains. Pre-pandemic, there were plans to move to this same venue when it was still called The Uptown, so it also feels like a full-circle moment for the crew.\u003c/p>\n\u003cfigure id=\"attachment_13911661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715-800x533.jpg\" alt=\"smiling audience members enjoy a show in a darkly lit music venue\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audience members at a Smartbomb show at The Legionnaire on Dec. 21, 2019. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone has two years of energy stored up to let go,” he says. “Everyone’s been releasing themselves a little bit by a little bit, but there’s still a lot of energy that everyone needs to collectively release. I feel like dancefloors and shared community music events are these ultimate places for that.”\u003c/p>\n\u003cp>Last month at the Institute of Contemporary Art, Smartbomb curated a program combining all live music, short films, performances, and visual arts they showcased with VHS. After Crybaby, they’re booked to spin records at Oakland’s Bar Shiru on April 27, and they have a VHS episode scheduled to arrive sometime in May or June. The goal, as always, is to create new opportunities for artists all over the Bay.\u003c/p>\n\u003cp>“It’s only going to be the beginning of a new, post-pandemic musical movement that’s going to happen in Oakland,” Garcia says. “It’s going to be a lot of artists, a lot of collectives, a lot of events, a lot of groups, that are all going to be a part of it. I’m lucky to be in existence with all these people.”\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=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Smartbomb takes place at 8pm on Wednesday, April 13, at Crybaby in Oakland. \u003ca href=\"https://crybaby.live/event-details/11960655/smartbomb-with-ovrkast-xyla-astu-alora-4d-flatspot-abby-imperial-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ten years ago, if you’d have told me that one of the most exciting jazz groups in the world would be made up of two drummers, a saxophonist, and a tuba player, I’d probably have said, “Yeah, right. If that happens, I’ll eat my John Coltrane records.”\u003c/p>\n\u003cp>I’m glad I never made such a bet. (Not just because my stomach would hurt.) And not just because Sons of Kemet, led by fiery British tenor saxophonist phenomenon Shabaka Hutchings, have made four exploratory albums that treat improvisation as a savior and rhythm as a deity. But because in a live setting, they’re a revelation, filling a dance floor as few jazz bands can. The first time I saw them, in 2018, at the side room of the SFJAZZ Center, nearly every single body moved in time, nonstop.\u003c/p>\n\u003cp>https://www.instagram.com/p/Boxun1blIs2/\u003c/p>\n\u003cp>Which is part of why Sons of Kemet’s two-night stand at the Independent is a perfect pairing of band and venue. Jazz can suffer from a staid, stuffy atmosphere when presented at performing arts centers. But when it’s on stage at a nightclub, with no seats or tables, and with dancing and beer bottles and sweat and laughter, it brings back the original joy and interaction of jazz, what Miles Davis routinely called “social music.”\u003c/p>\n\u003cp>I witnessed this joyful spirit at the Independent once before, in 2016, when \u003ca href=\"https://www.kqed.org/arts/11369970/carly-vince-and-kamasi-a-tale-of-three-noise-pop-shows\" target=\"_blank\" rel=\"noopener noreferrer\">Kamasi Washington brought his group there as part of the Noise Pop festival\u003c/a>. “Take away all stuffiness, all rules, all two-drink minimums. Play this music loud and proud to a room of people beaming, dancing, soaking in a new experience, a room that’s housed Mos Def and Major Lazer and DJ Shadow and Wilco and M.I.A.,” I \u003ca href=\"https://www.kqed.org/arts/11369970/carly-vince-and-kamasi-a-tale-of-three-noise-pop-shows\" target=\"_blank\" rel=\"noopener noreferrer\">wrote at the time\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Expect the same when Sons of Kemet, that unlikely quartet with, yes, a tuba, brings the crowd to life over two nights, April 11 and 12, at the Independent in San Francisco. \u003ca href=\"http://theindependentsf.com/event/11760155/sons-of-kemet/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ten years ago, if you’d have told me that one of the most exciting jazz groups in the world would be made up of two drummers, a saxophonist, and a tuba player, I’d probably have said, “Yeah, right. If that happens, I’ll eat my John Coltrane records.”\u003c/p>\n\u003cp>I’m glad I never made such a bet. (Not just because my stomach would hurt.) And not just because Sons of Kemet, led by fiery British tenor saxophonist phenomenon Shabaka Hutchings, have made four exploratory albums that treat improvisation as a savior and rhythm as a deity. But because in a live setting, they’re a revelation, filling a dance floor as few jazz bands can. The first time I saw them, in 2018, at the side room of the SFJAZZ Center, nearly every single body moved in time, nonstop.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Which is part of why Sons of Kemet’s two-night stand at the Independent is a perfect pairing of band and venue. Jazz can suffer from a staid, stuffy atmosphere when presented at performing arts centers. But when it’s on stage at a nightclub, with no seats or tables, and with dancing and beer bottles and sweat and laughter, it brings back the original joy and interaction of jazz, what Miles Davis routinely called “social music.”\u003c/p>\n\u003cp>I witnessed this joyful spirit at the Independent once before, in 2016, when \u003ca href=\"https://www.kqed.org/arts/11369970/carly-vince-and-kamasi-a-tale-of-three-noise-pop-shows\" target=\"_blank\" rel=\"noopener noreferrer\">Kamasi Washington brought his group there as part of the Noise Pop festival\u003c/a>. “Take away all stuffiness, all rules, all two-drink minimums. Play this music loud and proud to a room of people beaming, dancing, soaking in a new experience, a room that’s housed Mos Def and Major Lazer and DJ Shadow and Wilco and M.I.A.,” I \u003ca href=\"https://www.kqed.org/arts/11369970/carly-vince-and-kamasi-a-tale-of-three-noise-pop-shows\" target=\"_blank\" rel=\"noopener noreferrer\">wrote at the time\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Louis C.K. Crawls Out of Cancellation, Wins a Grammy and Triggers a Backlash",
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"content": "\u003cp>\u003cstrong>\u003cem>Editor’s note:\u003c/em>\u003c/strong>\u003cem> This story contains language that some may find offensive.\u003c/em>\u003c/p>\n\u003cp>Louis C.K. brought home a \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">Grammy\u003c/a> on Sunday despite having admitted to sexual misconduct and subsequently enduring almost five years in professional comedy purgatory.\u003c/p>\n\u003cp>C.K.’s album, \u003cem>Sincerely Louis C.K.\u003c/em>, beat out five other nominees—including Lewis Black, Kevin Hart and Chelsea Handler—for best comedy album at the \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">64\u003csup>th\u003c/sup> Grammy Awards\u003c/a>. The comeback album was his first release since the 54-year-old was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/09/563116374/multiple-women-say-louis-c-k-masturbated-in-front-of-them-new-york-times-reports\" target=\"_blank\" rel=\"noopener noreferrer\">accused of\u003c/a> masturbating in front of multiple female colleagues in November 2017.\u003c/p>\n\u003cp>Twitter users lashed out almost immediately following the Recording Academy’s announcement, many of whom pointed out the irony that C.K.’s winning album made light of the very misconduct that \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">derailed his career\u003c/a> years ago.\u003c/p>\n\u003cp>https://twitter.com/RecordingAcad/status/1510752491985522688\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Rewarding the man that makes light of sexual harassment and assault while having allegations levied against him?” one user \u003ca href=\"https://twitter.com/RecordingAcad/status/1510752491985522688?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1510752491985522688%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2FJH1wkNI%3F_showcaption%3Dtrueapp%3D1\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a>.\u003c/p>\n\u003cp>“The Grammys are a great reminder that ‘cancel culture’ doesn’t exist and no white dude has ever been successfully cancelled for anything terrible that they do,” \u003ca href=\"https://twitter.com/heckinoverit/status/1510769928416251909\" target=\"_blank\" rel=\"noopener noreferrer\">posted another\u003c/a>.\u003c/p>\n\u003cp>In 2017, five women shared experiences with \u003cem>\u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\" target=\"_blank\" rel=\"noopener noreferrer\">the New York Times\u003c/a>\u003c/em>, alleging that C.K masturbated in their presence along with other sexually inappropriate behavior. The comedian had initially denied the allegations, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">NPR previously reported\u003c/a>, but ultimately admitted to his wrongdoing.\u003c/p>\n\u003cp>“At the time, I said to myself that what I did was OK because I never showed a woman my dick without asking first, which is also true. But what I learned later in life, too late, is that when you have power over another person, asking them to look at your dick isn’t a question. It’s a predicament for them,” C.K. said in a 2017 statement. “The power I had over these women is that they admired me. And I wielded that power irresponsibly.”\u003c/p>\n\u003cp>The fallout after his admission came almost instantaneously. On top of the public outcry, networks such as HBO, Netflix and FX cut ties with the formerly revered comedian and pulled past and upcoming programs alike.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not even one year later, C.K. was back onstage at a comedy club in New York City. However, C.K. has more or less remained out of the spotlight until his latest album. But now he’s back on tour. According to his official \u003ca href=\"https://louisck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, C.K. will spend May and June visiting several European countries, with some of that tour’s shows have already sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>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=Louis+C.K.+cancels+his+cancellation%2C+wins+a+Grammy+and+triggers+a+backlash&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Rewarding the man that makes light of sexual harassment and assault while having allegations levied against him?” one user \u003ca href=\"https://twitter.com/RecordingAcad/status/1510752491985522688?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1510752491985522688%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2FJH1wkNI%3F_showcaption%3Dtrueapp%3D1\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a>.\u003c/p>\n\u003cp>“The Grammys are a great reminder that ‘cancel culture’ doesn’t exist and no white dude has ever been successfully cancelled for anything terrible that they do,” \u003ca href=\"https://twitter.com/heckinoverit/status/1510769928416251909\" target=\"_blank\" rel=\"noopener noreferrer\">posted another\u003c/a>.\u003c/p>\n\u003cp>In 2017, five women shared experiences with \u003cem>\u003ca href=\"https://www.nytimes.com/2017/11/09/arts/television/louis-ck-sexual-misconduct.html\" target=\"_blank\" rel=\"noopener noreferrer\">the New York Times\u003c/a>\u003c/em>, alleging that C.K masturbated in their presence along with other sexually inappropriate behavior. The comedian had initially denied the allegations, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">NPR previously reported\u003c/a>, but ultimately admitted to his wrongdoing.\u003c/p>\n\u003cp>“At the time, I said to myself that what I did was OK because I never showed a woman my dick without asking first, which is also true. But what I learned later in life, too late, is that when you have power over another person, asking them to look at your dick isn’t a question. It’s a predicament for them,” C.K. said in a 2017 statement. “The power I had over these women is that they admired me. And I wielded that power irresponsibly.”\u003c/p>\n\u003cp>The fallout after his admission came almost instantaneously. On top of the public outcry, networks such as HBO, Netflix and FX cut ties with the formerly revered comedian and pulled past and upcoming programs alike.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not even one year later, C.K. was back onstage at a comedy club in New York City. However, C.K. has more or less remained out of the spotlight until his latest album. But now he’s back on tour. According to his official \u003ca href=\"https://louisck.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>, C.K. will spend May and June visiting several European countries, with some of that tour’s shows have already sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>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=Louis+C.K.+cancels+his+cancellation%2C+wins+a+Grammy+and+triggers+a+backlash&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "10 Takeaways From a Night of Strong Performances and Curveballs at the Grammys",
"headTitle": "10 Takeaways From a Night of Strong Performances and Curveballs at the Grammys | KQED",
"content": "\u003cp>This year’s Grammy Awards were \u003ca href=\"https://www.npr.org/2022/01/18/1073871920/grammys-rescheduled-moved-las-vegas-april-3\" target=\"_blank\" rel=\"noopener noreferrer\">supposed to take place in January\u003c/a>, but they wound up postponed until seven days after \u003ca href=\"https://www.npr.org/2022/03/24/1088592585/our-2022-oscars-recap\" target=\"_blank\" rel=\"noopener noreferrer\">a cursed Oscars telecast\u003c/a>. So, now that the awards season has mercifully concluded, here’s what you need to know about \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">the 2022 Grammys\u003c/a>—the lessons, storylines, triumphs and irritations that defined \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">the very long night\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>1. Never, ever underestimate the Grammys’ love for Bruno Mars.\u003c/strong>\u003c/p>\n\u003cp>Some of us—including this writer—decided months ago that song of the year and record of the year were bound to go to \u003ca href=\"https://www.npr.org/artists/998736720/olivia-rodrigo\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Rodrigo\u003c/a>‘s “drivers license.” The song was a massive smash, Rodrigo was 2021’s breakout star and the Grammys love to announce the arrival of new A-listers by burying them in trophies. (See \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a>‘s \u003ca href=\"https://www.npr.org/2020/01/27/799879297/billie-eilish-sweeps-grammys-in-ceremony-clouded-by-controversy-and-mourning\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Grammy sweep\u003c/a> for evidence of this phenomenon.)\u003c/p>\n\u003cp>But Rodrigo ran into a buzzsaw that prognosticators—again, including this writer—should have seen coming. The Grammys love \u003ca href=\"https://www.npr.org/artists/166969902/bruno-mars\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars\u003c/a> with the intensity of 10,000 suns and would prefer not to pass up \u003cem>any\u003c/em> opportunity to lavish Grammys on him. \u003ca href=\"https://www.npr.org/artists/1054392430/silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">Silk Sonic\u003c/a>, his collaboration with \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a>, crafts impeccable throwback soul that’s essentially one big sprawling field of fresh-cut catnip for Grammy voters. Silk Sonic’s debut album, \u003cem>An Evening With Silk Sonic\u003c/em>, wasn’t eligible for album of the year consideration, but don’t be surprised if it’s a frontrunner for the award in 2023; if “Leave the Door Open” could win song and record of the year against this competition, the album is going to be tough to beat once it’s finally eligible.\u003c/p>\n\u003cp>\u003cstrong>2. The Rodrigopocalypse didn’t quite materialize.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She was always a sure thing for best new artist, plus she took home best pop solo performance and best pop vocal album, beating out heavy hitters Eilish, \u003ca href=\"https://www.npr.org/artists/623390256/doja-cat\" target=\"_blank\" rel=\"noopener noreferrer\">Doja Cat\u003c/a>, \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Bieber\u003c/a> and \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a> in the process. But talks of a sweep in the big four categories—song of the year, record of the year, best new artist, album of the year—took a big hit right away. Song of the year went to Silk Sonic early in the telecast, and Rodrigo wound up only batting .250.\u003c/p>\n\u003cp>That said, she still had a good night: She got to give two speeches during the telecast and her performance of “drivers license” was enormously assured. At 19, she helped further establish herself as a force worthy of music’s grandest stage.\u003c/p>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>3. Those 11 Jon Batiste nominations were no fluke.\u003c/strong>\u003c/p>\n\u003cp>Speaking of forces… bandleader, pianist and composer \u003ca href=\"https://www.npr.org/artists/208638149/jon-batiste\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Batiste\u003c/a> was nominated across an astounding 11 different Grammy categories Sunday—including album of the year and record of the year, plus genres as far afield as jazz, R&B and contemporary classical. He’d won four trophies before the telecast even began, then locked down a fifth at the end of the night, when \u003cem>We Are\u003c/em> won album of the year. Much of the pre-show chatter about this particular category was centered on Rodrigo, Eilish or a dark horse in the form of \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a> and \u003ca href=\"https://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga\u003c/a>‘s \u003cem>Love for Sale\u003c/em>. But in the end, the year’s most decorated nominee took the night’s biggest prize.\u003c/p>\n\u003cp>\u003cstrong>4. Jazmine Sullivan and Doja Cat broke major winless streaks…\u003c/strong>\u003c/p>\n\u003cp>R&B singer-songwriter \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\" target=\"_blank\" rel=\"noopener noreferrer\">Jazmine Sullivan\u003c/a> was 0-for-12 at the Grammys coming into Sunday—and seemed at serious risk of extending her winless streak to 15, in spite of \u003cem>Heaux Tales\u003c/em>‘ status as one of 2021’s best-loved albums. (NPR Music had it at \u003ca href=\"https://www.npr.org/2021/12/01/1054333297/the-50-best-albums-of-2021-page-5\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 for the year\u003c/a>.) But Sullivan’s “Pick Up Your Feelings” sneaked into a tie with Silk Sonic’s “Leave the Door Open” for best R&B performance, and then \u003cem>Heaux Tales\u003c/em> beat a powerhouse field—including Batiste’s \u003cem>We Are\u003c/em>—to take best R&B album.\u003c/p>\n\u003cp>Later, Doja Cat ended her own winless streak: She \u003cem>would\u003c/em> have been 0-for-11 if “Kiss Me More”—her hit with \u003ca href=\"https://www.npr.org/artists/532236099/sza\" target=\"_blank\" rel=\"noopener noreferrer\">SZA\u003c/a>—hadn’t taken the prize for best pop duo/group performance. Her emotional speech made it clear that the Grammy validation mattered.\u003c/p>\n\u003cp>\u003cstrong>5. …but there were a few surprising shutouts.\u003c/strong>\u003c/p>\n\u003cp>Justin Bieber has never been a runaway Grammy favorite (he’s only won twice in 22 nominations) so his 0-for-8 result on the night wasn’t a massive surprise. But few saw Eilish’s 0-for-7 evening coming—not that the superstar seemed to mind, given that she’d won an Oscar a week earlier and has never seemed to stake her happiness on awards anyway. \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener noreferrer\">Brandi Carlile\u003c/a> each went 0-for-5 and had to console themselves with the knowledge that their live performances were characteristically fantastic.\u003c/p>\n\u003cp>\u003cstrong>6. The first hour was pretty mind-blowing.\u003c/strong>\u003c/p>\n\u003cp>The Grammys are, first and foremost, a three-and-a-half-hour infomercial for the music industry: They’re meant to sweep across as many popular genres as possible, showcase the best those genres have to offer and attract the largest possible audience in the process. As such, it only makes sense that this year’s Grammys were front-loaded to an immensely satisfying degree, with a string of superstars operating at the top of their game.\u003c/p>\n\u003cp>Silk Sonic kicked off the night with “777,” a song about Las Vegas befitting the Grammy ceremony’s new home, then gave way to five more slam dunks in the show’s first hour—namely Rodrigo, \u003ca href=\"https://www.npr.org/artists/611374965/j-balvin\" target=\"_blank\" rel=\"noopener noreferrer\">J Balvin\u003c/a>, \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>, Lil Nas X and Eilish. With six headliners packed into its first hour, the Grammys set the bar extraordinarily high early on.\u003c/p>\n\u003cp>\u003cstrong>7. The Grammys did what the Oscars couldn’t…\u003c/strong>\u003c/p>\n\u003cp>Not only did Questlove get to accept an award for \u003cem>Summer of Soul\u003c/em> without it being overshadowed by a violent temper tantrum, but the Grammys also did a far more effective job highlighting the plight of the Ukrainian people. President Volodymyr Zelenskyy spoke via video about music and resilience before \u003ca href=\"https://www.npr.org/artists/15838633/john-legend\" target=\"_blank\" rel=\"noopener noreferrer\">John Legend\u003c/a> performed “Free” with the aid of musicians Siuzanna Iglidan and Mika Newton, as well as poet Lyuba Yakimchuk. It was an elegant display and a good look for the Grammys. [aside postid='arts_13911492']\u003c/p>\n\u003cp>\u003cstrong>8. …but that Louis C.K. win will burn for a while.\u003c/strong>\u003c/p>\n\u003cp>The Grammys did so much right Sunday, and offered so many wins worth celebrating, but they couldn’t help but step on a rake when it came time to pick a winner for best comedy album. Watching them \u003ca href=\"https://www.npr.org/2022/04/04/1090743278/louis-c-k-crawls-out-of-cancellation-wins-a-grammy-and-triggers-a-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">reward Louis C.K.\u003c/a>, who has faced allegations of sexual misconduct from multiple women—and admitted that “\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">the stories are true\u003c/a>“—really stung. It’s hard to make the (already specious) case that cancel culture is running amok and unfairly ruining lives when Louis C.K., of all people, wins a Grammy Award in 2022.\u003c/p>\n\u003cp>\u003cstrong>9. The tributes were truly heartwarming.\u003c/strong>\u003c/p>\n\u003cp>The “In Memoriam” section of any awards show is bound to unlock a few emotional floodgates: Great entertainers die all the time, after all. But the Grammys did a nice job bookending their tribute with lovely tributes to \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> drummer Taylor Hawkins (who died March 25) and Broadway legend \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Sondheim\u003c/a> (who died in November). Set to pieces sung by \u003ca href=\"https://www.npr.org/2021/09/27/1040848525/ben-platt-dear-evan-hansen-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Platt\u003c/a>, \u003ca href=\"https://www.npr.org/2021/09/25/1040718364/cynthia-erivo-sings-her-own-words-in-her-1st-solo-album\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Erivo\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/14/1063788231/ariana-debose-and-rachel-zegler-say-west-side-story-gets-it-right-on-representat\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Zegler\u003c/a> and \u003ca href=\"https://www.npr.org/artists/783342863/leslie-odom-jr\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Odom Jr.\u003c/a>, the segment did justice to its subjects while also reminding viewers about the power of live theater.\u003c/p>\n\u003cp>As a nice bonus, Eilish performed “Happier Than Ever” while clad in a T-shirt with Hawkins’ face on it.\u003c/p>\n\u003cp>\u003cstrong>10. The Grammys really need to figure out what to do about hip-hop.\u003c/strong>\u003c/p>\n\u003cp>If the Grammys are looking for a note to take into next year, besides maybe “Don’t give an award to Louis C.K. next time,” they’d do well to assess just how much credibility they’ve lost in the world of hip-hop. Two of the rap categories (best rap performance and best rap album) had only four nominees because \u003ca href=\"https://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a> pulled his music from contention between the announcement of nominations and the telecast. \u003ca href=\"https://www.npr.org/artists/780443851/baby-keem\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Keem\u003c/a> and \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener noreferrer\">Kendrick Lamar\u003c/a>‘s excellent “family ties” was a great choice for best rap performance, but Lamar skipped the ceremony; two more prizes went to \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>, who was absent for \u003ca href=\"https://www.npr.org/2022/03/20/1087787313/ye-kanye-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">different reasons\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>West picked up the only hip-hop nomination among 10 contenders for album of the year—an award he was pretty clearly never a threat to win—and rap (\u003ca href=\"https://www.npr.org/artists/16001441/nas\" target=\"_blank\" rel=\"noopener noreferrer\">Nas\u003c/a> aside) scarcely turned up amid the dozens of performances throughout the night. The Grammys’ relationship with hip-hop has only grown more fraught in recent years, and Sunday night’s telecast did nothing to help.\u003c/p>\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>.\u003c/div>\n\n",
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"excerpt": "Here's what you need to know about the 2022 Grammys—the lessons, storylines, triumphs and irritations that defined the night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Grammy Awards were \u003ca href=\"https://www.npr.org/2022/01/18/1073871920/grammys-rescheduled-moved-las-vegas-april-3\" target=\"_blank\" rel=\"noopener noreferrer\">supposed to take place in January\u003c/a>, but they wound up postponed until seven days after \u003ca href=\"https://www.npr.org/2022/03/24/1088592585/our-2022-oscars-recap\" target=\"_blank\" rel=\"noopener noreferrer\">a cursed Oscars telecast\u003c/a>. So, now that the awards season has mercifully concluded, here’s what you need to know about \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">the 2022 Grammys\u003c/a>—the lessons, storylines, triumphs and irritations that defined \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">the very long night\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>1. Never, ever underestimate the Grammys’ love for Bruno Mars.\u003c/strong>\u003c/p>\n\u003cp>Some of us—including this writer—decided months ago that song of the year and record of the year were bound to go to \u003ca href=\"https://www.npr.org/artists/998736720/olivia-rodrigo\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Rodrigo\u003c/a>‘s “drivers license.” The song was a massive smash, Rodrigo was 2021’s breakout star and the Grammys love to announce the arrival of new A-listers by burying them in trophies. (See \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a>‘s \u003ca href=\"https://www.npr.org/2020/01/27/799879297/billie-eilish-sweeps-grammys-in-ceremony-clouded-by-controversy-and-mourning\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Grammy sweep\u003c/a> for evidence of this phenomenon.)\u003c/p>\n\u003cp>But Rodrigo ran into a buzzsaw that prognosticators—again, including this writer—should have seen coming. The Grammys love \u003ca href=\"https://www.npr.org/artists/166969902/bruno-mars\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars\u003c/a> with the intensity of 10,000 suns and would prefer not to pass up \u003cem>any\u003c/em> opportunity to lavish Grammys on him. \u003ca href=\"https://www.npr.org/artists/1054392430/silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">Silk Sonic\u003c/a>, his collaboration with \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a>, crafts impeccable throwback soul that’s essentially one big sprawling field of fresh-cut catnip for Grammy voters. Silk Sonic’s debut album, \u003cem>An Evening With Silk Sonic\u003c/em>, wasn’t eligible for album of the year consideration, but don’t be surprised if it’s a frontrunner for the award in 2023; if “Leave the Door Open” could win song and record of the year against this competition, the album is going to be tough to beat once it’s finally eligible.\u003c/p>\n\u003cp>\u003cstrong>2. The Rodrigopocalypse didn’t quite materialize.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She was always a sure thing for best new artist, plus she took home best pop solo performance and best pop vocal album, beating out heavy hitters Eilish, \u003ca href=\"https://www.npr.org/artists/623390256/doja-cat\" target=\"_blank\" rel=\"noopener noreferrer\">Doja Cat\u003c/a>, \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Bieber\u003c/a> and \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a> in the process. But talks of a sweep in the big four categories—song of the year, record of the year, best new artist, album of the year—took a big hit right away. Song of the year went to Silk Sonic early in the telecast, and Rodrigo wound up only batting .250.\u003c/p>\n\u003cp>That said, she still had a good night: She got to give two speeches during the telecast and her performance of “drivers license” was enormously assured. At 19, she helped further establish herself as a force worthy of music’s grandest stage.\u003c/p>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>3. Those 11 Jon Batiste nominations were no fluke.\u003c/strong>\u003c/p>\n\u003cp>Speaking of forces… bandleader, pianist and composer \u003ca href=\"https://www.npr.org/artists/208638149/jon-batiste\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Batiste\u003c/a> was nominated across an astounding 11 different Grammy categories Sunday—including album of the year and record of the year, plus genres as far afield as jazz, R&B and contemporary classical. He’d won four trophies before the telecast even began, then locked down a fifth at the end of the night, when \u003cem>We Are\u003c/em> won album of the year. Much of the pre-show chatter about this particular category was centered on Rodrigo, Eilish or a dark horse in the form of \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a> and \u003ca href=\"https://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga\u003c/a>‘s \u003cem>Love for Sale\u003c/em>. But in the end, the year’s most decorated nominee took the night’s biggest prize.\u003c/p>\n\u003cp>\u003cstrong>4. Jazmine Sullivan and Doja Cat broke major winless streaks…\u003c/strong>\u003c/p>\n\u003cp>R&B singer-songwriter \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\" target=\"_blank\" rel=\"noopener noreferrer\">Jazmine Sullivan\u003c/a> was 0-for-12 at the Grammys coming into Sunday—and seemed at serious risk of extending her winless streak to 15, in spite of \u003cem>Heaux Tales\u003c/em>‘ status as one of 2021’s best-loved albums. (NPR Music had it at \u003ca href=\"https://www.npr.org/2021/12/01/1054333297/the-50-best-albums-of-2021-page-5\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 for the year\u003c/a>.) But Sullivan’s “Pick Up Your Feelings” sneaked into a tie with Silk Sonic’s “Leave the Door Open” for best R&B performance, and then \u003cem>Heaux Tales\u003c/em> beat a powerhouse field—including Batiste’s \u003cem>We Are\u003c/em>—to take best R&B album.\u003c/p>\n\u003cp>Later, Doja Cat ended her own winless streak: She \u003cem>would\u003c/em> have been 0-for-11 if “Kiss Me More”—her hit with \u003ca href=\"https://www.npr.org/artists/532236099/sza\" target=\"_blank\" rel=\"noopener noreferrer\">SZA\u003c/a>—hadn’t taken the prize for best pop duo/group performance. Her emotional speech made it clear that the Grammy validation mattered.\u003c/p>\n\u003cp>\u003cstrong>5. …but there were a few surprising shutouts.\u003c/strong>\u003c/p>\n\u003cp>Justin Bieber has never been a runaway Grammy favorite (he’s only won twice in 22 nominations) so his 0-for-8 result on the night wasn’t a massive surprise. But few saw Eilish’s 0-for-7 evening coming—not that the superstar seemed to mind, given that she’d won an Oscar a week earlier and has never seemed to stake her happiness on awards anyway. \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener noreferrer\">Brandi Carlile\u003c/a> each went 0-for-5 and had to console themselves with the knowledge that their live performances were characteristically fantastic.\u003c/p>\n\u003cp>\u003cstrong>6. The first hour was pretty mind-blowing.\u003c/strong>\u003c/p>\n\u003cp>The Grammys are, first and foremost, a three-and-a-half-hour infomercial for the music industry: They’re meant to sweep across as many popular genres as possible, showcase the best those genres have to offer and attract the largest possible audience in the process. As such, it only makes sense that this year’s Grammys were front-loaded to an immensely satisfying degree, with a string of superstars operating at the top of their game.\u003c/p>\n\u003cp>Silk Sonic kicked off the night with “777,” a song about Las Vegas befitting the Grammy ceremony’s new home, then gave way to five more slam dunks in the show’s first hour—namely Rodrigo, \u003ca href=\"https://www.npr.org/artists/611374965/j-balvin\" target=\"_blank\" rel=\"noopener noreferrer\">J Balvin\u003c/a>, \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>, Lil Nas X and Eilish. With six headliners packed into its first hour, the Grammys set the bar extraordinarily high early on.\u003c/p>\n\u003cp>\u003cstrong>7. The Grammys did what the Oscars couldn’t…\u003c/strong>\u003c/p>\n\u003cp>Not only did Questlove get to accept an award for \u003cem>Summer of Soul\u003c/em> without it being overshadowed by a violent temper tantrum, but the Grammys also did a far more effective job highlighting the plight of the Ukrainian people. President Volodymyr Zelenskyy spoke via video about music and resilience before \u003ca href=\"https://www.npr.org/artists/15838633/john-legend\" target=\"_blank\" rel=\"noopener noreferrer\">John Legend\u003c/a> performed “Free” with the aid of musicians Siuzanna Iglidan and Mika Newton, as well as poet Lyuba Yakimchuk. It was an elegant display and a good look for the Grammys. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8. …but that Louis C.K. win will burn for a while.\u003c/strong>\u003c/p>\n\u003cp>The Grammys did so much right Sunday, and offered so many wins worth celebrating, but they couldn’t help but step on a rake when it came time to pick a winner for best comedy album. Watching them \u003ca href=\"https://www.npr.org/2022/04/04/1090743278/louis-c-k-crawls-out-of-cancellation-wins-a-grammy-and-triggers-a-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">reward Louis C.K.\u003c/a>, who has faced allegations of sexual misconduct from multiple women—and admitted that “\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">the stories are true\u003c/a>“—really stung. It’s hard to make the (already specious) case that cancel culture is running amok and unfairly ruining lives when Louis C.K., of all people, wins a Grammy Award in 2022.\u003c/p>\n\u003cp>\u003cstrong>9. The tributes were truly heartwarming.\u003c/strong>\u003c/p>\n\u003cp>The “In Memoriam” section of any awards show is bound to unlock a few emotional floodgates: Great entertainers die all the time, after all. But the Grammys did a nice job bookending their tribute with lovely tributes to \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> drummer Taylor Hawkins (who died March 25) and Broadway legend \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Sondheim\u003c/a> (who died in November). Set to pieces sung by \u003ca href=\"https://www.npr.org/2021/09/27/1040848525/ben-platt-dear-evan-hansen-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Platt\u003c/a>, \u003ca href=\"https://www.npr.org/2021/09/25/1040718364/cynthia-erivo-sings-her-own-words-in-her-1st-solo-album\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Erivo\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/14/1063788231/ariana-debose-and-rachel-zegler-say-west-side-story-gets-it-right-on-representat\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Zegler\u003c/a> and \u003ca href=\"https://www.npr.org/artists/783342863/leslie-odom-jr\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Odom Jr.\u003c/a>, the segment did justice to its subjects while also reminding viewers about the power of live theater.\u003c/p>\n\u003cp>As a nice bonus, Eilish performed “Happier Than Ever” while clad in a T-shirt with Hawkins’ face on it.\u003c/p>\n\u003cp>\u003cstrong>10. The Grammys really need to figure out what to do about hip-hop.\u003c/strong>\u003c/p>\n\u003cp>If the Grammys are looking for a note to take into next year, besides maybe “Don’t give an award to Louis C.K. next time,” they’d do well to assess just how much credibility they’ve lost in the world of hip-hop. Two of the rap categories (best rap performance and best rap album) had only four nominees because \u003ca href=\"https://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a> pulled his music from contention between the announcement of nominations and the telecast. \u003ca href=\"https://www.npr.org/artists/780443851/baby-keem\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Keem\u003c/a> and \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener noreferrer\">Kendrick Lamar\u003c/a>‘s excellent “family ties” was a great choice for best rap performance, but Lamar skipped the ceremony; two more prizes went to \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>, who was absent for \u003ca href=\"https://www.npr.org/2022/03/20/1087787313/ye-kanye-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">different reasons\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>West picked up the only hip-hop nomination among 10 contenders for album of the year—an award he was pretty clearly never a threat to win—and rap (\u003ca href=\"https://www.npr.org/artists/16001441/nas\" target=\"_blank\" rel=\"noopener noreferrer\">Nas\u003c/a> aside) scarcely turned up amid the dozens of performances throughout the night. The Grammys’ relationship with hip-hop has only grown more fraught in recent years, and Sunday night’s telecast did nothing to help.\u003c/p>\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>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘We Were Hyphy’ Documentary Remembers the Bay Area’s Iconic Rap Subculture",
"headTitle": "‘We Were Hyphy’ Documentary Remembers the Bay Area’s Iconic Rap Subculture | KQED",
"content": "\u003cp>Just about any casual Bay Area hip-hop fan remembers 2000s touchstones like \u003ca href=\"https://www.youtube.com/watch?v=SEpAeSj504c\" target=\"_blank\" rel=\"noopener noreferrer\">stunna shades\u003c/a>, \u003ca href=\"https://youtu.be/lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener noreferrer\">thizz pills\u003c/a> and \u003ca href=\"https://youtu.be/xLvlGVNInw4\" target=\"_blank\" rel=\"noopener noreferrer\">ghostriding the whip\u003c/a>. But the new documentary \u003ca href=\"https://www.wewerehyphy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>We Were Hyphy\u003c/i>\u003c/a> makes the case that the colorful, flamboyant hyphy movement meant something much deeper.\u003c/p>\n\u003cp>For young people born in the years after the war on drugs devastated the Bay Area’s working class communities of color, going dumb was a search for a near-spiritual ecstasy—an escape from oppressive social conditions. And in a region that never quite got its shine in the mainstream music industry, hyphy became an emblem of the Bay Area’s homegrown ingenuity and countercultural spirit.\u003c/p>\n\u003cp>https://vimeo.com/685602124\u003c/p>\n\u003cp>\u003ci>We Were Hyphy\u003c/i> explores this era through firsthand accounts of originators like Nump, Rick Rock and \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>; the younger artists who inherited their legacy, including Droop-E, G-Eazy and Kamaiyah; and chroniclers of the scene, including photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">D-Ray\u003c/a>, Sacramento State University professor Andrea L.S. Moore and KQED’s own columnist and \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Rightnowish\u003c/i>\u003c/a> host Pendarvis Harshaw. Archival footage from Mac Dre’s \u003ca href=\"https://www.youtube.com/watch?v=3SFLEJqzEJQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Treal TV\u003c/i>\u003c/a> DVDs and local newscasts, and a brief Zoom appearance from elder statesmen E-40 and Too $hort, help round out the story. [aside postid='arts_13908484']\u003c/p>\n\u003cp>The film is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming\u003c/a> April 1–17 through \u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinequest\u003c/a>’s Cinejoy online film festival, as well as in person on \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Saturday, June 4 at the Roxie Theater\u003c/a> as part of the San Francisco Documentary Festival, and marks the debut feature by director \u003ca href=\"https://www.larrymadrigalfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laurence Madrigal\u003c/a>, a 33-year-old Antioch native and San Francisco State University film grad. In addition to D-Ray and Nump, executive producers include \u003ci>Blindspotting\u003c/i> co-creator Rafael Casal and \u003ca href=\"https://www.thizzler.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizzler\u003c/a> rap site founder Matt Werner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>We Were Hyphy\u003c/i> is a solid 101 course in the genre and subculture—beyond the life and death of hyphy’s patron saint, Mac Dre, and its big hits, like E-40 and Keak Da Sneak’s “Tell Me When To Go.” Bay Area viewers who were there for the parties, dance battles, concerts and sideshows will feel a sense of pride to see lesser-known sculptors of local culture get their shine on screen. And for a national audience, and even the up-and-coming generation in the Bay who didn’t witness it firsthand, \u003ci>We Were Hyphy\u003c/i> makes for a good introduction.\u003c/p>\n\u003cp>We get to hear from turf dancers like \u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener noreferrer\">Ice Cold 3000\u003c/a>, and people behind the scenes, including \u003ca href=\"https://www.instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizz Nation\u003c/a> CEO Kilo Curt and \u003ca href=\"https://www.instagram.com/sideshowtone/\" target=\"_blank\" rel=\"noopener noreferrer\">Sideshow Tone\u003c/a>, a keeper of Oakland car culture. With their interviews, the film paints a fuller picture of hyphy as more than just a musical style, but rather a youthful, grassroots movement that came from the streets and became a commercial export. [aside postid='arts_13890570']\u003c/p>\n\u003cp>At times in the film, people who’ve been close to hyphy and Bay Area hip-hop since the 2000s or earlier might yearn for the story to go deeper—especially when it comes to that connection between street culture and mass entertainment. Gender issues also go largely unexplored, and the film only briefly mentions pimp culture as an influence before quickly moving on. Giving a bit more air time to some of these sticky, uncomfortable subjects, and treating them with empathy, could have made the film that much richer.\u003c/p>\n\u003cp>But a documentary about this influential period in Bay Area music and cultural identity is long overdue. And \u003ci>We Were Hyphy\u003c/i> is just one hyphy history, not \u003ci>the\u003c/i> hyphy history. Could a completely thorough, definitive documentary about such an explosive, chaotic movement even exist? \u003ci>We Were Hyphy\u003c/i> is a good starting point of a conversation on screen.\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>\u003c/p>\n\u003cp>\u003cem>‘We Were Hyphy’ is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">streaming now through April 17 via Cinequest\u003c/a>; details \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. It also screens Saturday, June 4, at the Roxie Theater in San Francisco as part of the San Francisco Documentary Festival; \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The first film of its kind is a Hyphy 101 course on why the Bay Area dances a little different. ",
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"title": "‘We Were Hyphy’ Documentary Remembers the Bay Area’s Iconic Rap Subculture | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just about any casual Bay Area hip-hop fan remembers 2000s touchstones like \u003ca href=\"https://www.youtube.com/watch?v=SEpAeSj504c\" target=\"_blank\" rel=\"noopener noreferrer\">stunna shades\u003c/a>, \u003ca href=\"https://youtu.be/lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener noreferrer\">thizz pills\u003c/a> and \u003ca href=\"https://youtu.be/xLvlGVNInw4\" target=\"_blank\" rel=\"noopener noreferrer\">ghostriding the whip\u003c/a>. But the new documentary \u003ca href=\"https://www.wewerehyphy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>We Were Hyphy\u003c/i>\u003c/a> makes the case that the colorful, flamboyant hyphy movement meant something much deeper.\u003c/p>\n\u003cp>For young people born in the years after the war on drugs devastated the Bay Area’s working class communities of color, going dumb was a search for a near-spiritual ecstasy—an escape from oppressive social conditions. And in a region that never quite got its shine in the mainstream music industry, hyphy became an emblem of the Bay Area’s homegrown ingenuity and countercultural spirit.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>We Were Hyphy\u003c/i> explores this era through firsthand accounts of originators like Nump, Rick Rock and \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>; the younger artists who inherited their legacy, including Droop-E, G-Eazy and Kamaiyah; and chroniclers of the scene, including photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">D-Ray\u003c/a>, Sacramento State University professor Andrea L.S. Moore and KQED’s own columnist and \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Rightnowish\u003c/i>\u003c/a> host Pendarvis Harshaw. Archival footage from Mac Dre’s \u003ca href=\"https://www.youtube.com/watch?v=3SFLEJqzEJQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Treal TV\u003c/i>\u003c/a> DVDs and local newscasts, and a brief Zoom appearance from elder statesmen E-40 and Too $hort, help round out the story. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming\u003c/a> April 1–17 through \u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinequest\u003c/a>’s Cinejoy online film festival, as well as in person on \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Saturday, June 4 at the Roxie Theater\u003c/a> as part of the San Francisco Documentary Festival, and marks the debut feature by director \u003ca href=\"https://www.larrymadrigalfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laurence Madrigal\u003c/a>, a 33-year-old Antioch native and San Francisco State University film grad. In addition to D-Ray and Nump, executive producers include \u003ci>Blindspotting\u003c/i> co-creator Rafael Casal and \u003ca href=\"https://www.thizzler.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizzler\u003c/a> rap site founder Matt Werner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>We Were Hyphy\u003c/i> is a solid 101 course in the genre and subculture—beyond the life and death of hyphy’s patron saint, Mac Dre, and its big hits, like E-40 and Keak Da Sneak’s “Tell Me When To Go.” Bay Area viewers who were there for the parties, dance battles, concerts and sideshows will feel a sense of pride to see lesser-known sculptors of local culture get their shine on screen. And for a national audience, and even the up-and-coming generation in the Bay who didn’t witness it firsthand, \u003ci>We Were Hyphy\u003c/i> makes for a good introduction.\u003c/p>\n\u003cp>We get to hear from turf dancers like \u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener noreferrer\">Ice Cold 3000\u003c/a>, and people behind the scenes, including \u003ca href=\"https://www.instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizz Nation\u003c/a> CEO Kilo Curt and \u003ca href=\"https://www.instagram.com/sideshowtone/\" target=\"_blank\" rel=\"noopener noreferrer\">Sideshow Tone\u003c/a>, a keeper of Oakland car culture. With their interviews, the film paints a fuller picture of hyphy as more than just a musical style, but rather a youthful, grassroots movement that came from the streets and became a commercial export. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At times in the film, people who’ve been close to hyphy and Bay Area hip-hop since the 2000s or earlier might yearn for the story to go deeper—especially when it comes to that connection between street culture and mass entertainment. Gender issues also go largely unexplored, and the film only briefly mentions pimp culture as an influence before quickly moving on. Giving a bit more air time to some of these sticky, uncomfortable subjects, and treating them with empathy, could have made the film that much richer.\u003c/p>\n\u003cp>But a documentary about this influential period in Bay Area music and cultural identity is long overdue. And \u003ci>We Were Hyphy\u003c/i> is just one hyphy history, not \u003ci>the\u003c/i> hyphy history. Could a completely thorough, definitive documentary about such an explosive, chaotic movement even exist? \u003ci>We Were Hyphy\u003c/i> is a good starting point of a conversation on screen.\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>\u003c/p>\n\u003cp>\u003cem>‘We Were Hyphy’ is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">streaming now through April 17 via Cinequest\u003c/a>; details \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. It also screens Saturday, June 4, at the Roxie Theater in San Francisco as part of the San Francisco Documentary Festival; \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowish-pallavi-aka-fijiana-rapper-hindi-sexuality",
"title": "Richmond Rapper Embraces Indo-Fijian Identity and ‘Men With Money’",
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"headTitle": "Richmond Rapper Embraces Indo-Fijian Identity and ‘Men With Money’ | KQED",
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"content": "\u003cp>Over punchy-uptempo beats with stupid-heavy bass lines, \u003ca href=\"https://www.instagram.com/iamfijiana/\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví AKA Fijiana \u003c/a>turns social tropes on their heads. Her evocative visuals mix sexuality with tradition, while her lyrics address appropriation and the Indian diaspora.\u003c/p>\n\u003cp>Fijiana says her Indo-Fijian heritage, her Richmond upbringing and rap influences like Lil’ Kim and Ladybug Mecca of Digable Planets, helped create the artist and person she is today.\u003c/p>\n\u003cp>In making music that pushes social norms, she’s encountered backlash with a heavy dose of sexism. Fijiana says a guiding light has been conversations with her father and his acceptance of her work.\u003c/p>\n\u003cp>This week Fijiana talks to us about all of that, and her latest album \u003ca href=\"https://distrokid.com/hyperfollow/pallavakafijiana/thirst\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Thirst\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7174140439\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of my conversation with Pallaví AKA Fijiana.\u003c/strong>\u003c/p>\n\u003cp>Fijiana: I’m Indo-Fijian. And what happened was when African slavery became illegal, they started taking Indian people as indentured servants. Indentured like coolie people they didn’t really have a choice. Like people try to make it seem like it! They were literally kidnaped! They were tricked. They were being told ‘we have work for you in the next city.’ Indian people were taken to a lot of different colonies all over the Caribbean and South Africa. And Fiji was one of them. They’d work in the most brutal conditions, I feel like “indentured servant” is just not a really good term for the system that we went through. But I we also don’t want to mix it in with the Atlantic slave trade because that is also very different.\u003c/p>\n\u003cp>\u003cem>Pen (narration): As she says, after the abolition of the Atlantic slave trade, the British empire set up a system of \u003ca href=\"https://www.himalmag.com/girmit-fiji/\">indentured servitude\u003c/a>. It led to over 1 million people from India working in extremely harsh conditions around the world. Between 1879 to 1919 over 60 thousand Indians were shipped to British sugarcane plantations in Fiji. While some were kidnapped, others signed contracts they couldn’t read that stripped them of their freedom. Many didn’t realize they were crossing an ocean, and some jumped ship when they saw India receding. In Fiji they were met with inadequate food and poor living conditions. This exploitation generated revenue for the ruling class and further established a social hierarchy. \u003c/em>\u003c/p>\n\u003cp>Fijiana: Indo-Fijians are still not accepted as Fijian people. I wasn’t actually too aware of that until I released the song \u003cem>Identity\u003c/em> and I got a lot of pushback from my own community that did not like the fact that I claimed I was Fijian.\u003c/p>\n\u003cp>\u003cem>Pen: You said a term that I wanted to make sure we addressed early on in this conversation.\u003c/em>\u003c/p>\n\u003cp>Fijiana: The “coolie” term was a derogatory term that the British would use for Indian people. It had a negative connotation, like, “oh, you’re coolie, so you must be less than.” And it’s a term that a lot of “coolie” people don’t even like saying. But just like bitch is a term women reclaim… like, I don’t want a man to call me a bitch, but I’ll call myself a bitch and I’ll call my friend a bitch. “Coolie” is like that to me. I feel like you tried to suppress me with this term, but I am reclaiming it.\u003c/p>\n\u003cp>\u003cem>Pen: This reclamation of taking terms, taking ideas and flipping them on their head, it’s something you’ve done recently as well through a song \u003c/em>Sanskari Hoe\u003cem>… it’s a hell of a title. What does sanskari mean?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Sanskari means traditional, it translates to someone that’s traditional, someone who is very innocent and sweet and docile. The idea of this really perfect Indian woman, this South Asian woman, the one that you want to take home to your family. Taking a term like that and then adding hoe. It was it was meant to kind of say, like, I’m all of it!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RaznSURpwW8\u003c/p>\n\u003cp>Fijiana: If you look at \u003cem>Identity\u003c/em>, \u003cem>Direction\u003c/em>, and \u003cem>Sanskari Hoe\u003c/em>, they’re so different, they talk about such different things. And I think that’s important to me as an artist that people see me as human and know that like I’m sexual, I’m spiritual, I’m political.\u003c/p>\n\u003cp>\u003cem>Pen: Tell me about the reaction that \u003c/em>Sanskari Hoe \u003cem>has been getting, specifically on TikTok.\u003c/em>\u003c/p>\n\u003cp>Fijiana: As of right now on TikTok, a lot of people are not liking it. It’s interesting because I’m seeing them say they don’t like the song, which I think is a valid critique because no one needs to actually like music, that’s your opinion. But it feels like there’s a lot of misogyny wrapped into ‘oh, this is trash,’ but not being able to really articulate ‘I’m feeling very uncomfortable that someone like you is using such profanity centered lyrics.’ I had a comment on my video ‘you’re going to reap the consequences, karma will get you.’ And I’m like, Karma is gonna get me for being sexual? I don’t understand! All of these men’s mothers do it… If you’re here, that’s what’s happening!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zl97qCiK7Bs\u003c/p>\n\u003cp>Fijiana: I just feel like the internet doesn’t leave a lot of space for nuance. On the internet, people don’t really process the reasoning behind their discomfort. It just comes out as ‘I don’t like things and that’s it.’\u003c/p>\n\u003cp>Fijiana: … I’m Fijian, but I do come from the South Asian diaspora. And India in particular they have some of the highest rape cases. The way they treat women is insane! They have all these goddesses. But they don’t respect the women walking down the street.\u003c/p>\n\u003cp>\u003cem>Pen: One of the issues that you’re taking by the reins and flip it on its head is this issue of the male gaze. How are you flipping that?\u003c/em>\u003c/p>\n\u003cp>Fijiana: I have a song called “Men With Money”… I like men who provide, I don’t want to be the ride or die and wait for you to get your life together. I’m OK with liking men with money. [I’m] normalizing things that women tend to be demonized for that men seem to get away with…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hb9rzCSpKQk\u003c/p>\n\u003cp>\u003cem>Pen: During a previous conversation you mentioned you don’t look at yourself necessarily as a trailblazer. Who do you see as doing the work before you?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Black women have been doing this work for years, particularly in the space of hip hop. Artists like Lil’ Kim would just be like, ‘I’m a bad bitch, I’m really sexual and I’m OK with that.’ And that’s been a way to take autonomy back in like a lot of male-dominated spaces. I’m still trying to learn how to navigate the space with as much integrity as I can, because appropriation is very real.\u003c/p>\n\u003cp>\u003cem>Pen: I can appreciate that acknowledgment of the history and also understanding of who you are and where you stand in the midst of everything. Beyond Bollywood, what other musical influences have you taken into your artistry?\u003c/em>\u003c/p>\n\u003cp>Fijiana: I started getting into rap when my friend in high school told me I should start rapping Ladybug Mecca raps. Her lines in “Cool Like That.” And I would just do that all of the time!\u003c/p>\n\u003cp>https://youtu.be/cM4kqL13jGM?t=98\u003c/p>\n\u003cp>Fijiana: I think music – and rap in particular – has helped me so much because I feel like I used to have a lot of mental health issues and rapping and writing have made me very aware of my emotions. Now there’s a certain level of awareness where I can objectively look at them and write it down.\u003c/p>\n\u003cp>\u003cem>Pen: I’m wondering how has the Bay Area assisted you on your path to becoming an artist?\u003c/em>\u003c/p>\n\u003cp>Fijiana: I don’t think I’d be who I was without growing up in Richmond. It’s interesting because it’s problematic as well because growing up in a predominantly Black and Latino community, I think Black culture was actually the dominant culture growing up… You kind of see yourself putting on caricatures and trying to act and emulate the people in your community. And then growing up and realizing there’s anti-Blackness in acting that way. It’s interesting being brown in a very black and white country. I think about this a lot because there’s a certain level of code-switching you have to do. People label it as talking white or talking Black, but I think it’s almost talking into whatever environment you’re in. But yes, there is a way where we can take it way too far and start emulating things that aren’t even us.\u003c/p>\n\u003cp>Fijiana: When I started really understanding my Fijian heritage is when I started unpacking anti-Blackness that a lot of non-Black people have growing up in predominantly Black communities.\u003c/p>\n\u003cp>\u003cem>Pen: So in your music videos I’ve seen that you incorporate Bollywood influence. For people who can’t see your work right now, could you paint a picture of how you incorporated that into your visuals?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Personally, as Fijians, we might be more called to Bollywood because it’s one of our biggest connections to India, because we don’t know where we’re from in India. Particularly like 90s/80s actresses… in the in the rain, in the saris, being so sexual… I really embraced it. And as I got older, I was like, this is what sensuality looks like to me. This is what sexuality looks like to me, and how can I take that and make it modern and make it my own? I love incorporating dance the way Bollywood does a lot! A girl like me, you wouldn’t really see in Bollywood. I’m not the darkest skin, but I am still a little too brown for Bollywood. Bollywood usually chooses very particular, very pale women. Maybe I’ll never be in Bollywood, but I’ll make my own films and I’ll make my own productions, and I will make my dreams come true. Fijiana, my music is a place for my little girl to just go all out.\u003c/p>\n\u003cp>\u003cem>Pen: And you’ve shared with me that you play every song for your father, except for one. How did your father take to your music ?\u003c/em>\u003c/p>\n\u003cp>Fijiana: He’s the most supportive person in my life. He accepts me for all that I am. When I’m upset, like I’m getting trolled about, like a song like \u003cem>Sanskari Hoe\u003c/em>, he was like Pooja, ‘If you put Picasso in front of a regular person, they’re just going to think it’s like some scratches on like a surface… The same thing with you! Like your worth needs to be valued by people who see you.’\u003c/p>\n\u003cp>Fijiana: You know, I actually did a podcast specifically on sexuality, and I listened to the whole thing with my dad. And after we had a really great conversation about sexuality.\u003c/p>\n\u003cp>\u003cem>Pen: To have that conversation…I imagine it’s got to be ammo under your belt. Like, I’ve talked to my father about this. So what? What can the internet troll do to me, right? Is that the attitude that you have?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Yeah, I completely feel like that. Like, even when I played my dad the podcast, he looked at me, you just like, I see you as a person. I understand you better as a person now like I get it like, I get it You put your art before anything. And I respect that! I think it’s amazing like he… ‘cuz I’ve seen him shift as a person, you know, like I’ve seen him change a lot of ideas and things because I am so vocal about everything I do. I really thought to myself like, ‘Wow, to be a brown man who’s grown up in this culture that actively suppresses these kinds of thoughts. You sit there not with just any woman, but your daughter. You listen to this and you not only accept it and accept me, but you admire me.’\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Richmond Rapper Embraces Indo-Fijian Identity and ‘Men With Money’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over punchy-uptempo beats with stupid-heavy bass lines, \u003ca href=\"https://www.instagram.com/iamfijiana/\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví AKA Fijiana \u003c/a>turns social tropes on their heads. Her evocative visuals mix sexuality with tradition, while her lyrics address appropriation and the Indian diaspora.\u003c/p>\n\u003cp>Fijiana says her Indo-Fijian heritage, her Richmond upbringing and rap influences like Lil’ Kim and Ladybug Mecca of Digable Planets, helped create the artist and person she is today.\u003c/p>\n\u003cp>In making music that pushes social norms, she’s encountered backlash with a heavy dose of sexism. Fijiana says a guiding light has been conversations with her father and his acceptance of her work.\u003c/p>\n\u003cp>This week Fijiana talks to us about all of that, and her latest album \u003ca href=\"https://distrokid.com/hyperfollow/pallavakafijiana/thirst\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Thirst\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7174140439\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of my conversation with Pallaví AKA Fijiana.\u003c/strong>\u003c/p>\n\u003cp>Fijiana: I’m Indo-Fijian. And what happened was when African slavery became illegal, they started taking Indian people as indentured servants. Indentured like coolie people they didn’t really have a choice. Like people try to make it seem like it! They were literally kidnaped! They were tricked. They were being told ‘we have work for you in the next city.’ Indian people were taken to a lot of different colonies all over the Caribbean and South Africa. And Fiji was one of them. They’d work in the most brutal conditions, I feel like “indentured servant” is just not a really good term for the system that we went through. But I we also don’t want to mix it in with the Atlantic slave trade because that is also very different.\u003c/p>\n\u003cp>\u003cem>Pen (narration): As she says, after the abolition of the Atlantic slave trade, the British empire set up a system of \u003ca href=\"https://www.himalmag.com/girmit-fiji/\">indentured servitude\u003c/a>. It led to over 1 million people from India working in extremely harsh conditions around the world. Between 1879 to 1919 over 60 thousand Indians were shipped to British sugarcane plantations in Fiji. While some were kidnapped, others signed contracts they couldn’t read that stripped them of their freedom. Many didn’t realize they were crossing an ocean, and some jumped ship when they saw India receding. In Fiji they were met with inadequate food and poor living conditions. This exploitation generated revenue for the ruling class and further established a social hierarchy. \u003c/em>\u003c/p>\n\u003cp>Fijiana: Indo-Fijians are still not accepted as Fijian people. I wasn’t actually too aware of that until I released the song \u003cem>Identity\u003c/em> and I got a lot of pushback from my own community that did not like the fact that I claimed I was Fijian.\u003c/p>\n\u003cp>\u003cem>Pen: You said a term that I wanted to make sure we addressed early on in this conversation.\u003c/em>\u003c/p>\n\u003cp>Fijiana: The “coolie” term was a derogatory term that the British would use for Indian people. It had a negative connotation, like, “oh, you’re coolie, so you must be less than.” And it’s a term that a lot of “coolie” people don’t even like saying. But just like bitch is a term women reclaim… like, I don’t want a man to call me a bitch, but I’ll call myself a bitch and I’ll call my friend a bitch. “Coolie” is like that to me. I feel like you tried to suppress me with this term, but I am reclaiming it.\u003c/p>\n\u003cp>\u003cem>Pen: This reclamation of taking terms, taking ideas and flipping them on their head, it’s something you’ve done recently as well through a song \u003c/em>Sanskari Hoe\u003cem>… it’s a hell of a title. What does sanskari mean?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Sanskari means traditional, it translates to someone that’s traditional, someone who is very innocent and sweet and docile. The idea of this really perfect Indian woman, this South Asian woman, the one that you want to take home to your family. Taking a term like that and then adding hoe. It was it was meant to kind of say, like, I’m all of it!\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/RaznSURpwW8'\n title='//www.youtube.com/embed/RaznSURpwW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fijiana: If you look at \u003cem>Identity\u003c/em>, \u003cem>Direction\u003c/em>, and \u003cem>Sanskari Hoe\u003c/em>, they’re so different, they talk about such different things. And I think that’s important to me as an artist that people see me as human and know that like I’m sexual, I’m spiritual, I’m political.\u003c/p>\n\u003cp>\u003cem>Pen: Tell me about the reaction that \u003c/em>Sanskari Hoe \u003cem>has been getting, specifically on TikTok.\u003c/em>\u003c/p>\n\u003cp>Fijiana: As of right now on TikTok, a lot of people are not liking it. It’s interesting because I’m seeing them say they don’t like the song, which I think is a valid critique because no one needs to actually like music, that’s your opinion. But it feels like there’s a lot of misogyny wrapped into ‘oh, this is trash,’ but not being able to really articulate ‘I’m feeling very uncomfortable that someone like you is using such profanity centered lyrics.’ I had a comment on my video ‘you’re going to reap the consequences, karma will get you.’ And I’m like, Karma is gonna get me for being sexual? I don’t understand! All of these men’s mothers do it… If you’re here, that’s what’s happening!\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/Zl97qCiK7Bs'\n title='//www.youtube.com/embed/Zl97qCiK7Bs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fijiana: I just feel like the internet doesn’t leave a lot of space for nuance. On the internet, people don’t really process the reasoning behind their discomfort. It just comes out as ‘I don’t like things and that’s it.’\u003c/p>\n\u003cp>Fijiana: … I’m Fijian, but I do come from the South Asian diaspora. And India in particular they have some of the highest rape cases. The way they treat women is insane! They have all these goddesses. But they don’t respect the women walking down the street.\u003c/p>\n\u003cp>\u003cem>Pen: One of the issues that you’re taking by the reins and flip it on its head is this issue of the male gaze. How are you flipping that?\u003c/em>\u003c/p>\n\u003cp>Fijiana: I have a song called “Men With Money”… I like men who provide, I don’t want to be the ride or die and wait for you to get your life together. I’m OK with liking men with money. [I’m] normalizing things that women tend to be demonized for that men seem to get away with…\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/Hb9rzCSpKQk'\n title='//www.youtube.com/embed/Hb9rzCSpKQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Pen: During a previous conversation you mentioned you don’t look at yourself necessarily as a trailblazer. Who do you see as doing the work before you?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Black women have been doing this work for years, particularly in the space of hip hop. Artists like Lil’ Kim would just be like, ‘I’m a bad bitch, I’m really sexual and I’m OK with that.’ And that’s been a way to take autonomy back in like a lot of male-dominated spaces. I’m still trying to learn how to navigate the space with as much integrity as I can, because appropriation is very real.\u003c/p>\n\u003cp>\u003cem>Pen: I can appreciate that acknowledgment of the history and also understanding of who you are and where you stand in the midst of everything. Beyond Bollywood, what other musical influences have you taken into your artistry?\u003c/em>\u003c/p>\n\u003cp>Fijiana: I started getting into rap when my friend in high school told me I should start rapping Ladybug Mecca raps. Her lines in “Cool Like That.” And I would just do that all of the time!\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/cM4kqL13jGM'\n title='//www.youtube.com/embed/cM4kqL13jGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fijiana: I think music – and rap in particular – has helped me so much because I feel like I used to have a lot of mental health issues and rapping and writing have made me very aware of my emotions. Now there’s a certain level of awareness where I can objectively look at them and write it down.\u003c/p>\n\u003cp>\u003cem>Pen: I’m wondering how has the Bay Area assisted you on your path to becoming an artist?\u003c/em>\u003c/p>\n\u003cp>Fijiana: I don’t think I’d be who I was without growing up in Richmond. It’s interesting because it’s problematic as well because growing up in a predominantly Black and Latino community, I think Black culture was actually the dominant culture growing up… You kind of see yourself putting on caricatures and trying to act and emulate the people in your community. And then growing up and realizing there’s anti-Blackness in acting that way. It’s interesting being brown in a very black and white country. I think about this a lot because there’s a certain level of code-switching you have to do. People label it as talking white or talking Black, but I think it’s almost talking into whatever environment you’re in. But yes, there is a way where we can take it way too far and start emulating things that aren’t even us.\u003c/p>\n\u003cp>Fijiana: When I started really understanding my Fijian heritage is when I started unpacking anti-Blackness that a lot of non-Black people have growing up in predominantly Black communities.\u003c/p>\n\u003cp>\u003cem>Pen: So in your music videos I’ve seen that you incorporate Bollywood influence. For people who can’t see your work right now, could you paint a picture of how you incorporated that into your visuals?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Personally, as Fijians, we might be more called to Bollywood because it’s one of our biggest connections to India, because we don’t know where we’re from in India. Particularly like 90s/80s actresses… in the in the rain, in the saris, being so sexual… I really embraced it. And as I got older, I was like, this is what sensuality looks like to me. This is what sexuality looks like to me, and how can I take that and make it modern and make it my own? I love incorporating dance the way Bollywood does a lot! A girl like me, you wouldn’t really see in Bollywood. I’m not the darkest skin, but I am still a little too brown for Bollywood. Bollywood usually chooses very particular, very pale women. Maybe I’ll never be in Bollywood, but I’ll make my own films and I’ll make my own productions, and I will make my dreams come true. Fijiana, my music is a place for my little girl to just go all out.\u003c/p>\n\u003cp>\u003cem>Pen: And you’ve shared with me that you play every song for your father, except for one. How did your father take to your music ?\u003c/em>\u003c/p>\n\u003cp>Fijiana: He’s the most supportive person in my life. He accepts me for all that I am. When I’m upset, like I’m getting trolled about, like a song like \u003cem>Sanskari Hoe\u003c/em>, he was like Pooja, ‘If you put Picasso in front of a regular person, they’re just going to think it’s like some scratches on like a surface… The same thing with you! Like your worth needs to be valued by people who see you.’\u003c/p>\n\u003cp>Fijiana: You know, I actually did a podcast specifically on sexuality, and I listened to the whole thing with my dad. And after we had a really great conversation about sexuality.\u003c/p>\n\u003cp>\u003cem>Pen: To have that conversation…I imagine it’s got to be ammo under your belt. Like, I’ve talked to my father about this. So what? What can the internet troll do to me, right? Is that the attitude that you have?\u003c/em>\u003c/p>\n\u003cp>Fijiana: Yeah, I completely feel like that. Like, even when I played my dad the podcast, he looked at me, you just like, I see you as a person. I understand you better as a person now like I get it like, I get it You put your art before anything. And I respect that! I think it’s amazing like he… ‘cuz I’ve seen him shift as a person, you know, like I’ve seen him change a lot of ideas and things because I am so vocal about everything I do. I really thought to myself like, ‘Wow, to be a brown man who’s grown up in this culture that actively suppresses these kinds of thoughts. You sit there not with just any woman, but your daughter. You listen to this and you not only accept it and accept me, but you admire me.’\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Watch the NEA Jazz Masters Concert With Stanley Clarke, Cassandra Wilson and More",
"headTitle": "Watch the NEA Jazz Masters Concert With Stanley Clarke, Cassandra Wilson and More | KQED",
"content": "\u003cp>It’s a big night for jazz in San Francisco.\u003c/p>\n\u003cp>At 7:30pm on Thursday, March 31, SFJAZZ hosts a concert and ceremony to celebrate the recipients of this year’s National Endowment for the Arts Jazz Masters Fellowship: master bassist \u003cstrong>Stanley Clarke\u003c/strong>; lush, inventive vocalist \u003cstrong>Cassandra Wilson\u003c/strong>; indomitable drummer \u003cstrong>Billy Hart\u003c/strong> and New Orleans legend \u003cstrong>Donald Harrison, Jr\u003c/strong>.\u003c/p>\n\u003cp>While the free tickets for the in-person event at SFJAZZ’s Miner Auditorium are already claimed, you can watch all the on-stage music, honors and action, starting at 7:30pm PST, below:\u003c/p>\n\u003cp>https://youtu.be/Q1IShN1Uy0Q\u003c/p>\n\u003cp>The concert will be hosted by 2018 NEA Jazz Master Diane Reeves. In addition to music by the honorees, additional performers include Ethan Iverson, Jeremiah Collier, Joe Dyson, Dan Kaufman, Salar Nader, Noriatsu Naraoka, Ruslan Sirota, Ben Street, and Mark Turner, as well as the \u003ca href=\"https://www.sfjazz.org/discover/sfjazz-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ Collective\u003c/a> and Skylar Tang, a 16-year-old trumpeter and a member of the \u003ca href=\"https://www.sfjazz.org/education/ensembles/high-school-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ High School All-Stars\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This marks the 40th year of the NEA Jazz Masters program, and the continuation of a partnership between the NEA and SFJAZZ, whose founder, Randall Kline, \u003ca href=\"https://www.kqed.org/arts/13910898/randall-kline-stepping-down-from-sfjazz\">recently announced\u003c/a> that he will step down from his role in 2023.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a big night for jazz in San Francisco.\u003c/p>\n\u003cp>At 7:30pm on Thursday, March 31, SFJAZZ hosts a concert and ceremony to celebrate the recipients of this year’s National Endowment for the Arts Jazz Masters Fellowship: master bassist \u003cstrong>Stanley Clarke\u003c/strong>; lush, inventive vocalist \u003cstrong>Cassandra Wilson\u003c/strong>; indomitable drummer \u003cstrong>Billy Hart\u003c/strong> and New Orleans legend \u003cstrong>Donald Harrison, Jr\u003c/strong>.\u003c/p>\n\u003cp>While the free tickets for the in-person event at SFJAZZ’s Miner Auditorium are already claimed, you can watch all the on-stage music, honors and action, starting at 7:30pm PST, below:\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/Q1IShN1Uy0Q'\n title='//www.youtube.com/embed/Q1IShN1Uy0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The concert will be hosted by 2018 NEA Jazz Master Diane Reeves. In addition to music by the honorees, additional performers include Ethan Iverson, Jeremiah Collier, Joe Dyson, Dan Kaufman, Salar Nader, Noriatsu Naraoka, Ruslan Sirota, Ben Street, and Mark Turner, as well as the \u003ca href=\"https://www.sfjazz.org/discover/sfjazz-collective/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ Collective\u003c/a> and Skylar Tang, a 16-year-old trumpeter and a member of the \u003ca href=\"https://www.sfjazz.org/education/ensembles/high-school-all-stars/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ High School All-Stars\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. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp class=\"title style-scope ytd-video-primary-info-renderer\">With high-reaching, elegant vocals and ghostly runs, East Bay-raised, L.A.-based artist Kadhja Bonet is back with her latest single “\u003ca href=\"https://www.youtube.com/watch?v=6nEvNpeV8RI\" target=\"_blank\" rel=\"noopener noreferrer\">Dear Gina.\u003c/a>” To fully understand this track you have to listen to its companion piece, “\u003ca href=\"https://www.youtube.com/watch?v=uM5zJ9cyrL8\" target=\"_blank\" rel=\"noopener noreferrer\">Delphine\u003c/a>,” off of Bonet’s 2018 album, \u003cem>\u003ca href=\"https://www.npr.org/2018/05/31/614967412/first-listen-kadhja-bonet-childqueen\" target=\"_blank\" rel=\"noopener noreferrer\">Childqueen\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The older song is about person who leaves a mysterious letter behind while exiting a relationship. Bonet says that she wanted to “capture the feeling of your stomach dropping out when you learn something you aren’t prepared for, and the swirl of the void that follows.” On her latest track, Bonet delves deeper into the content of the letter.\u003c/p>\n\u003cp>“Dear Gina, you have a spark / You’ll keep it bright through the dark / And I will be so happy to see you light / Wherever you’re headed though it’s not for me,” sings Bonet, who says the song centers on an overly gentle break up—drawn from a personal experience.\u003c/p>\n\u003cp>A Berkeley High School graduate who was raised in San Pablo, Bonet sings in a way that sounds like sunlight glimmering off of an expensive chandelier. The video that accompanies “Dear Gina” includes an interpretive dance done by a duo in front of cloth backdrops illuminated in hues of blue, indigo and violet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bonet, who released another single titled “\u003ca href=\"https://www.youtube.com/watch?v=HeCDLAFAAIE\" target=\"_blank\" rel=\"noopener noreferrer\">For You\u003c/a>” in the fall of last year (and a \u003ca href=\"https://www.youtube.com/watch?app=desktop&v=CPJysLNfEm0\" target=\"_blank\" rel=\"noopener noreferrer\">video earlier this year\u003c/a>), says these individual songs are separate from the full project she’s working on, which will be released at a later date.\u003c/p>\n\u003cp>After the success of her previous work, and noted collaborations with the likes of \u003ca href=\"https://www.youtube.com/watch?v=oEQlFNF8bQs\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=1TgkE-PPG-w\" target=\"_blank\" rel=\"noopener noreferrer\">SiR\u003c/a>, there’s growing anticipation for Bonet’s next album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6nEvNpeV8RI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp class=\"title style-scope ytd-video-primary-info-renderer\">With high-reaching, elegant vocals and ghostly runs, East Bay-raised, L.A.-based artist Kadhja Bonet is back with her latest single “\u003ca href=\"https://www.youtube.com/watch?v=6nEvNpeV8RI\" target=\"_blank\" rel=\"noopener noreferrer\">Dear Gina.\u003c/a>” To fully understand this track you have to listen to its companion piece, “\u003ca href=\"https://www.youtube.com/watch?v=uM5zJ9cyrL8\" target=\"_blank\" rel=\"noopener noreferrer\">Delphine\u003c/a>,” off of Bonet’s 2018 album, \u003cem>\u003ca href=\"https://www.npr.org/2018/05/31/614967412/first-listen-kadhja-bonet-childqueen\" target=\"_blank\" rel=\"noopener noreferrer\">Childqueen\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The older song is about person who leaves a mysterious letter behind while exiting a relationship. Bonet says that she wanted to “capture the feeling of your stomach dropping out when you learn something you aren’t prepared for, and the swirl of the void that follows.” On her latest track, Bonet delves deeper into the content of the letter.\u003c/p>\n\u003cp>“Dear Gina, you have a spark / You’ll keep it bright through the dark / And I will be so happy to see you light / Wherever you’re headed though it’s not for me,” sings Bonet, who says the song centers on an overly gentle break up—drawn from a personal experience.\u003c/p>\n\u003cp>A Berkeley High School graduate who was raised in San Pablo, Bonet sings in a way that sounds like sunlight glimmering off of an expensive chandelier. The video that accompanies “Dear Gina” includes an interpretive dance done by a duo in front of cloth backdrops illuminated in hues of blue, indigo and violet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bonet, who released another single titled “\u003ca href=\"https://www.youtube.com/watch?v=HeCDLAFAAIE\" target=\"_blank\" rel=\"noopener noreferrer\">For You\u003c/a>” in the fall of last year (and a \u003ca href=\"https://www.youtube.com/watch?app=desktop&v=CPJysLNfEm0\" target=\"_blank\" rel=\"noopener noreferrer\">video earlier this year\u003c/a>), says these individual songs are separate from the full project she’s working on, which will be released at a later date.\u003c/p>\n\u003cp>After the success of her previous work, and noted collaborations with the likes of \u003ca href=\"https://www.youtube.com/watch?v=oEQlFNF8bQs\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=1TgkE-PPG-w\" target=\"_blank\" rel=\"noopener noreferrer\">SiR\u003c/a>, there’s growing anticipation for Bonet’s next album.\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/6nEvNpeV8RI'\n title='//www.youtube.com/embed/6nEvNpeV8RI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The multi-platinum rock band \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> has canceled all of its upcoming tour dates \u003ca href=\"https://www.npr.org/2022/03/26/1088990158/foo-fighters-taylor-hawkins-dead\" target=\"_blank\" rel=\"noopener noreferrer\">after the death of its drummer\u003c/a>, Taylor Hawkins.\u003c/p>\n\u003cp>“It is with great sadness that Foo Fighters confirm the cancellation of all upcoming tour dates in light of the staggering loss of our brother Taylor Hawkins,” the band said in a \u003ca href=\"https://www.instagram.com/p/CbssjSUv5Ny/\" target=\"_blank\" rel=\"noopener noreferrer\">brief statement\u003c/a> sent to NPR on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13905745']“We’re sorry for and share in the disappointment that we won’t be seeing one another as planned. Instead, let’s take this time to grieve, to heal, to pull our loved ones close, and to appreciate all the music and memories we’ve made together. With Love, Foo Fighters.”\u003c/p>\n\u003cp>The band is scheduled to perform at the Grammy Awards in Las Vegas this Sunday, where it has been nominated for three awards. NPR has asked Foo Fighters’ representatives if the band will still appear on the telecast, but did not receive an immediate reply.\u003c/p>\n\u003cp>Hawkins died at age 50 in Bogota, Colombia, on Friday, where the group had been scheduled to perform. An official cause of death hasn’t yet been released.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/consequence/status/1507895101799944203\u003c/p>\n\u003cp>On Saturday evening, Colombia’s attorney general’s office \u003ca href=\"https://twitter.com/FiscaliaCol/status/1507841327224213504?s=20&t=wemzT4bUqYQptcyEcdxTlw\" target=\"_blank\" rel=\"noopener noreferrer\">released\u003c/a> a preliminary toxicology report, saying that medical examiners found evidence of 10 types of substances in Hawkins’ body, including opioids, benzodiazepines, marijuana and antidepressants. It said that its forensics report on Hawkins continues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hawkins had been in Foo Fighters since 1997, three years after the band began. Before that, he had been the touring drummer for Alanis Morissette. During Hawkins’ time with Foo Fighters, the band won 12 Grammy Awards and scored four No. 1 hits on the Billboard charts.\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=Foo+Fighters+cancel+all+tour+dates+after+drummer+Taylor+Hawkins%27+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Saturday evening, Colombia’s attorney general’s office \u003ca href=\"https://twitter.com/FiscaliaCol/status/1507841327224213504?s=20&t=wemzT4bUqYQptcyEcdxTlw\" target=\"_blank\" rel=\"noopener noreferrer\">released\u003c/a> a preliminary toxicology report, saying that medical examiners found evidence of 10 types of substances in Hawkins’ body, including opioids, benzodiazepines, marijuana and antidepressants. It said that its forensics report on Hawkins continues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hawkins had been in Foo Fighters since 1997, three years after the band began. Before that, he had been the touring drummer for Alanis Morissette. During Hawkins’ time with Foo Fighters, the band won 12 Grammy Awards and scored four No. 1 hits on the Billboard charts.\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=Foo+Fighters+cancel+all+tour+dates+after+drummer+Taylor+Hawkins%27+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJvoxZpFavo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_12059349']\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\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=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\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=\"auto, (max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> has announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/2022-23Season\" target=\"_blank\" rel=\"noopener noreferrer\">2022-2023 season\u003c/a>, a packed program that includes premieres of new works, an emphasis on storytelling and a reverence for one of the form’s most essential elements: the piano.\u003c/p>\n\u003cp>With Esa-Pekka Salonen at the helm, the season kicks off with an opening night gala on Sept. 23. On Sept. 29, the music director conducts the debut of a new work by \u003ca href=\"http://www.trevorweston.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, a music professor at Drew University and the winner of the 2021 \u003ca href=\"https://www.kqed.org/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. That evening, the orchestra also performs Symphony No. 2 by Gustav Mahler, the Austro-Bohemian romantic composer who has been a guiding light for the San Francisco Symphony since the tenure of previous music director Michael Tilson Thomas.\u003c/p>\n\u003cp>“I was immediately taken by the beauty and the energy of [Weston’s] music, and also the sparkle of ideas, which is rare,” said Salonen in a statement. “His music seemed to be completely alive. I’m greatly looking forward to conducting his piece before the Mahler Second Symphony.”\u003c/p>\n\u003cp>https://youtu.be/wa-1Z11Gb3A\u003c/p>\n\u003cp>In October, Salonen will lead the orchestra in performances that revolve around the themes of magic, myth and horror. Featured works include Modest Mussorgsky’s witchy \u003ci>Night on Bald Mountain\u003c/i>, a suite from Bernard Herrmann’s score to Alfred Hitchcock’s \u003ci>Psycho\u003c/i> and HK Gruber’s cartoonish \u003ci>Frankenstein!!\u003c/i> with baritone Christopher Purves. [aside postid='arts_13909978']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In February and March, ahead of the orchestra’s spring 2023 European tour, the symphony will perform a series of concerts spotlighting guest pianists \u003ca href=\"https://pierrelaurentaimard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pierre-Laurent Aimard\u003c/a>, \u003ca href=\"https://conorhanick.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Conor Hanick\u003c/a>, \u003ca href=\"https://www.langlangofficial.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> and \u003ca href=\"http://yujawang.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yuja Wang\u003c/a>.\u003c/p>\n\u003cp>Russian-German pianist \u003ca href=\"https://www.igor-levit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Igor Levit\u003c/a> is this season’s artist in residence. His performances in June 2023 will feature two Orchestral Series concerts, a Great Performers solo recital and a chamber music concert with members of the orchestra.\u003c/p>\n\u003cp>https://youtu.be/HSyJNWyRZ8Y\u003c/p>\n\u003cp>“Igor Levit is perhaps the hottest pianist in Europe at the moment,” said Salonen in his statement, adding that he’s “especially excited that Igor has decided to play the Busoni Piano Concerto with us, which is the strangest piano concerto ever written. It’s about 75 minutes long and needs a big orchestra and a chorus. And it’s a massive but utterly fascinating journey, full of beauty, struggle, love, and pain.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/subscribe\" target=\"_blank\" rel=\"noopener noreferrer\">Subscription packages\u003c/a> for the 2022-2023 season are available starting March 29, and \u003ca href=\"https://www.sfsymphony.org/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">single tickets\u003c/a> go on sale July 16. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> has announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/2022-23Season\" target=\"_blank\" rel=\"noopener noreferrer\">2022-2023 season\u003c/a>, a packed program that includes premieres of new works, an emphasis on storytelling and a reverence for one of the form’s most essential elements: the piano.\u003c/p>\n\u003cp>With Esa-Pekka Salonen at the helm, the season kicks off with an opening night gala on Sept. 23. On Sept. 29, the music director conducts the debut of a new work by \u003ca href=\"http://www.trevorweston.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, a music professor at Drew University and the winner of the 2021 \u003ca href=\"https://www.kqed.org/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. That evening, the orchestra also performs Symphony No. 2 by Gustav Mahler, the Austro-Bohemian romantic composer who has been a guiding light for the San Francisco Symphony since the tenure of previous music director Michael Tilson Thomas.\u003c/p>\n\u003cp>“I was immediately taken by the beauty and the energy of [Weston’s] music, and also the sparkle of ideas, which is rare,” said Salonen in a statement. “His music seemed to be completely alive. I’m greatly looking forward to conducting his piece before the Mahler Second Symphony.”\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/wa-1Z11Gb3A'\n title='//www.youtube.com/embed/wa-1Z11Gb3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In October, Salonen will lead the orchestra in performances that revolve around the themes of magic, myth and horror. Featured works include Modest Mussorgsky’s witchy \u003ci>Night on Bald Mountain\u003c/i>, a suite from Bernard Herrmann’s score to Alfred Hitchcock’s \u003ci>Psycho\u003c/i> and HK Gruber’s cartoonish \u003ci>Frankenstein!!\u003c/i> with baritone Christopher Purves. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In February and March, ahead of the orchestra’s spring 2023 European tour, the symphony will perform a series of concerts spotlighting guest pianists \u003ca href=\"https://pierrelaurentaimard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pierre-Laurent Aimard\u003c/a>, \u003ca href=\"https://conorhanick.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Conor Hanick\u003c/a>, \u003ca href=\"https://www.langlangofficial.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> and \u003ca href=\"http://yujawang.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yuja Wang\u003c/a>.\u003c/p>\n\u003cp>Russian-German pianist \u003ca href=\"https://www.igor-levit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Igor Levit\u003c/a> is this season’s artist in residence. His performances in June 2023 will feature two Orchestral Series concerts, a Great Performers solo recital and a chamber music concert with members of the orchestra.\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/HSyJNWyRZ8Y'\n title='//www.youtube.com/embed/HSyJNWyRZ8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Igor Levit is perhaps the hottest pianist in Europe at the moment,” said Salonen in his statement, adding that he’s “especially excited that Igor has decided to play the Busoni Piano Concerto with us, which is the strangest piano concerto ever written. It’s about 75 minutes long and needs a big orchestra and a chorus. And it’s a massive but utterly fascinating journey, full of beauty, struggle, love, and pain.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/subscribe\" target=\"_blank\" rel=\"noopener noreferrer\">Subscription packages\u003c/a> for the 2022-2023 season are available starting March 29, and \u003ca href=\"https://www.sfsymphony.org/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">single tickets\u003c/a> go on sale July 16. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Seshen Embraces the Changing Nature of Love in Two New Tracks",
"headTitle": "The Seshen Embraces the Changing Nature of Love in Two New Tracks | KQED",
"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>Over their decade-plus as a band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> has been through a lot together, and they’re processing love and grief on their two new singles, “Beyond Me” and “This Time Around.” Both tracks are part of a new, self-released LP that the Bay Area band is putting out song by song, once a month. [aside postid='arts_13903130']\u003c/p>\n\u003cp>“This Time Around,” out today, is a cover of a \u003ca href=\"https://www.youtube.com/watch?v=FDi6C8AeTVI\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Pratt song\u003c/a> that lead singer Lalin St. Juste and producer and bassist Aki Ehara gravitated towards while navigating an incredibly challenging time. The duo, once a married couple, is the band’s main songwriting force; during the pandemic, they divorced after St. Juste came out as a lesbian. Fortunately, they remain close collaborators and good friends.\u003c/p>\n\u003cp>It might be tempting to draw parallels to other great inter-band breakup songs, like No Doubt’s “Don’t Speak” and Fleetwood Mac’s “Dreams,” but “This Time Around” comes from a place of empathy and understanding of the way relationships change, and how people drift in and out of our lives.\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/track=3579124282/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>“I felt like even though we needed to heal and mourn in our own ways separately, we could connect musically through this song,” Ehara wrote in a statement about the track. “I knew that this was a song that resonated with each of us. Even through the challenges we were facing, we’d always shared a deep musical connection. I think in starting the [Jessica Pratt] cover, I was hoping to reconnect to that musical bond that brought us together years ago.”\u003c/p>\n\u003cp>“This Time Around” is a quiet contemplation that foregrounds St. Juste’s delicate voice over piano and strings. While Pratt’s original is lo-fi and acoustic, with a mix that conjures the fuzziness of a dusty record player, The Seshen’s take lends it a more full-bodied sheen that brings out its sparse beauty in a different way.\u003c/p>\n\u003cp>“Beyond Me,” released in February, is more propulsive and high-energy, although still introspective. St. Juste wrote the lyrics about tuning into her inner world through the meditation practice she developed during the pandemic. “What I find / when I arrive / The parts of me / I tried to hide,” she sings.\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/track=2343391112/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>\n\u003cp>\u003cem>The Seshen will release three more songs from their forthcoming LP, one per month, via \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and streaming platforms. \u003c/em>\u003c/p>\n\n",
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"headline": "The Seshen Embraces the Changing Nature of Love in Two New Tracks",
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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>Over their decade-plus as a band, \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> has been through a lot together, and they’re processing love and grief on their two new singles, “Beyond Me” and “This Time Around.” Both tracks are part of a new, self-released LP that the Bay Area band is putting out song by song, once a month. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This Time Around,” out today, is a cover of a \u003ca href=\"https://www.youtube.com/watch?v=FDi6C8AeTVI\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Pratt song\u003c/a> that lead singer Lalin St. Juste and producer and bassist Aki Ehara gravitated towards while navigating an incredibly challenging time. The duo, once a married couple, is the band’s main songwriting force; during the pandemic, they divorced after St. Juste came out as a lesbian. Fortunately, they remain close collaborators and good friends.\u003c/p>\n\u003cp>It might be tempting to draw parallels to other great inter-band breakup songs, like No Doubt’s “Don’t Speak” and Fleetwood Mac’s “Dreams,” but “This Time Around” comes from a place of empathy and understanding of the way relationships change, and how people drift in and out of our lives.\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/track=3579124282/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>“I felt like even though we needed to heal and mourn in our own ways separately, we could connect musically through this song,” Ehara wrote in a statement about the track. “I knew that this was a song that resonated with each of us. Even through the challenges we were facing, we’d always shared a deep musical connection. I think in starting the [Jessica Pratt] cover, I was hoping to reconnect to that musical bond that brought us together years ago.”\u003c/p>\n\u003cp>“This Time Around” is a quiet contemplation that foregrounds St. Juste’s delicate voice over piano and strings. While Pratt’s original is lo-fi and acoustic, with a mix that conjures the fuzziness of a dusty record player, The Seshen’s take lends it a more full-bodied sheen that brings out its sparse beauty in a different way.\u003c/p>\n\u003cp>“Beyond Me,” released in February, is more propulsive and high-energy, although still introspective. St. Juste wrote the lyrics about tuning into her inner world through the meditation practice she developed during the pandemic. “What I find / when I arrive / The parts of me / I tried to hide,” she sings.\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/track=2343391112/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>\n\u003cp>\u003cem>The Seshen will release three more songs from their forthcoming LP, one per month, via \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp\u003c/a> and streaming platforms. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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