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The international array of world-class choreographers, musicians, composers and multi-disciplinary performers residing here tends to fly under the organization’s radar, which is why Saturday’s world premiere \u003ca href=\"https://calperformances.org/events/2021-22/new-music/van-anh-vo-blood-moon-orchestra-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Songs of Strength\u003c/em>\u003c/a> at Zellerbach Hall feels like Cal Perfs suddenly woke from a fever dream eyes wide with wonder to declare earnestly, “There’s no place like home!”\u003c/p>\n\u003cp>Created by Hanoi-born composer and \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese traditional music master Vân-Ánh Võ\u003c/a>, \u003cem>Songs of Strength\u003c/em> is a three-part suite championing women’s resilience and independence with texts in English, Farsi and Vietnamese. More than polyglot, the production is kaleidoscopic, seeking to elucidate universal themes about the struggle for liberation by spinning the artists into unfamiliar terrain. Võ is the overarching conceptualist, but she’s spotlighting several leading Bay Area musicians, including Iranian singer/songwriter Mahsa Vahdat, breakdancer Babatunji “Tunjie” Johnson (who’s also a member of Alonzo King LINES Ballet) and \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a>, a rapper and jazz-steeped pianist with a long track record as a creative catalyst.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=8y02Rv8sQzw&feature=emb_logo\u003c/p>\n\u003cp>“Musically, it’s definitely outside the normal scope of what I’d rap over as a hip-hop artist,” says Choice, who contributes to four pieces throughout \u003cem>Songs of Strength\u003c/em>. “I wanted to contribute as a lyricist, but not force hip-hop into it. The topics are very socially conscious, focusing on liberation and freedom. One piece is inspired by a Maya Angelou poem, where Vân is singing in Vietnamese and I’m rapping in English. And as an MC there’s some space for me to improvise, using freestyle technique.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Võ often performs for Vietnamese communities around California, but she’s also eagerly sought out collaborators who know little of her homeland. Her commitment to incorporating other traditions, languages and musical practices into her music flows from her sense of herself as a work in progress, “a traditional artist still taking classes with my masters,” Võ says during a video call from her home in the El Cerrito hills.\u003c/p>\n\u003cp>“I never think I can finish learning,” she says. “They provide a time machine to go back to the past, and I have to create music that reflects my thinking and future generations.”\u003c/p>\n\u003cp>At their best, the encounters are win-win, an exchange that breaks down barriers between people and deepens one’s art. “I can get influences and give influences, which can help us get closer,” she says. “A lot of people are afraid of sharing. They think whatever they have will be stolen away. I’m not afraid of that. I never use any technique or school of thought to replace what I am, only to make my technique and instrument better.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5cZgkQsfqhE\u003c/p>\n\u003cp>Saturday’s concert is part of Cal Performances’ \u003cem>Illuminations:\u003c/em> “Place and Displacement” series, which features performances, public programs and academic events designed to investigate the ripples of migration and demographic change. No stranger to Cal Performances audiences, Võ has performed at Zellerbach Hall several times in collaboration with Kronos Quartet, most recently in 2018 in the fully staged opera \u003cem>My Lai\u003c/em> by composer Jonathan Berger and librettist Harriet Scott Chessman.\u003c/p>\n\u003cp>A rare exception to Cal Performances’ inattention to Bay Area-based artists, Kronos has been a primary conduit bringing local luminaries into the organization’s orbit (including Mahsa Vahdat, who also performs with the illustrious new music ensemble \u003ca href=\"https://calperformances.org/events/2021-22/new-music/kronos-quartet-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Thursday at Zellerbach\u003c/a>). With \u003cem>Songs of Strength\u003c/em>, Võ is holding the door opened by Kronos and ushering in a bevy of artists who’ve never played a Cal Performances engagement.\u003c/p>\n\u003cp>\u003cem>Songs of Strength\u003c/em> features Võ’s Blood Moon Orchestra, which may sound like a grand designation for a quartet. But her wildly disparate cast of East Bay artists can create sumptuously dynamic musical settings, building on the singular rhythm section tandem of Oakland taiko drummer Jimi Nakagawa and Berkeley electric bassist Kai Eckhardt. Eckhardt is a co-founder of the jam band Garaj Mahal, and has toured and recorded with heavyweights like guitarist John McLaughlin, tabla maestro Zakir Hussain and drummer Billy Cobham.\u003c/p>\n\u003cp>Blood Moon’s Joel Davel pivots between the rhythm section and melodic lead, providing orchestral accompaniment on marimba lumina, an electronic instrument with a limitless range of sonic possibilities. Võ spent several years scouting for the right percussionist or marimba player before she caught Davel performing with guitarist and composer Paul Dresher.\u003c/p>\n\u003cp>“I loved what he did,” she recalls. “He’s another person who wants to make his own instrument new, just like me. We find a lot in common. Let’s work together to create even more new sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She plays a number of traditional instruments but her primary musical vehicle, besides her voice, is a custom-designed, zither-like dan tranh with four additional strings (for a total of 20). Võ has honed extensive techniques: she uses a violin bow, a guitar effects box and various implements to strike the strings. Since many of the songs are in different keys, she brings several instruments on stage “so I do not have to torture the audience with retuning,” she says. The different instruments also allow her to assume various roles “to tell different stories and use different voices,” she says.\u003c/p>\n\u003cp>In many cases Võ collected her castmates along her wending trail of collaborations. She connected with Vahdat via Kronos Quartet and with Tunjie when LINES commissioned her to compose the score for the 2019 spring season. She quickly recognized that he possessed moves that didn’t hail from contemporary ballet. But even with King’s long history of setting dance to music from around the world, Tunjie had to dig deeply to embody the narratives sung in Vietnamese and Farsi.\u003c/p>\n\u003cp>“At first I was well out of my comfort zone,” Tunjie says. “Vân was asking that I approach it with some contemporary ballet, but more from a breakdancer or a popper’s viewpoint, challenging me to find out how I can express myself and the ideas in a different way. I so think I’m in a better position because of all the different music I’ve danced with LINES.” [aside postid='arts_13906176']\u003c/p>\n\u003cp>A few weeks before showtime, Võ sounded both anxious and elated about the impending performance, which is now sold out. Regularly meeting to rehearse, the artists were still nailing down details and honing the production. She’s hoping that \u003cem>Songs of Strength\u003c/em> takes on a life of its own beyond Saturday’s show, and that some of her collaborators get the chance to bring their own projects to Zellerbach.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have such incredible artists here,” Võ says. “Sometimes what we do can easily be overlooked. You think of hip-hop and East Oakland, it’s almost like in a different world. Taiko is so powerful compared to my delicate instrument. I’m proud to have them all on the same stage.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As one of the nation’s leading university-based arts presenters, Cal Performances boasts a century-long track record of bringing the world’s greatest performers to UC Berkeley. Perusing a Cal Perfs catalog can feel like planning a journey to Oz, with its tantalizing succession of shows that parachute audiences into scenes teeming with Technicolor creativity.\u003c/p>\n\u003cp>But after covering Cal Performances for a quarter century, it’s still hard to account for its lack of initiative when it comes to programming local artists. With apologies to the Sunflower State, the Bay Area ain’t Kansas. The international array of world-class choreographers, musicians, composers and multi-disciplinary performers residing here tends to fly under the organization’s radar, which is why Saturday’s world premiere \u003ca href=\"https://calperformances.org/events/2021-22/new-music/van-anh-vo-blood-moon-orchestra-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Songs of Strength\u003c/em>\u003c/a> at Zellerbach Hall feels like Cal Perfs suddenly woke from a fever dream eyes wide with wonder to declare earnestly, “There’s no place like home!”\u003c/p>\n\u003cp>Created by Hanoi-born composer and \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese traditional music master Vân-Ánh Võ\u003c/a>, \u003cem>Songs of Strength\u003c/em> is a three-part suite championing women’s resilience and independence with texts in English, Farsi and Vietnamese. More than polyglot, the production is kaleidoscopic, seeking to elucidate universal themes about the struggle for liberation by spinning the artists into unfamiliar terrain. Võ is the overarching conceptualist, but she’s spotlighting several leading Bay Area musicians, including Iranian singer/songwriter Mahsa Vahdat, breakdancer Babatunji “Tunjie” Johnson (who’s also a member of Alonzo King LINES Ballet) and \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a>, a rapper and jazz-steeped pianist with a long track record as a creative catalyst.\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/8y02Rv8sQzw'\n title='//www.youtube.com/embed/8y02Rv8sQzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Musically, it’s definitely outside the normal scope of what I’d rap over as a hip-hop artist,” says Choice, who contributes to four pieces throughout \u003cem>Songs of Strength\u003c/em>. “I wanted to contribute as a lyricist, but not force hip-hop into it. The topics are very socially conscious, focusing on liberation and freedom. One piece is inspired by a Maya Angelou poem, where Vân is singing in Vietnamese and I’m rapping in English. And as an MC there’s some space for me to improvise, using freestyle technique.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Võ often performs for Vietnamese communities around California, but she’s also eagerly sought out collaborators who know little of her homeland. Her commitment to incorporating other traditions, languages and musical practices into her music flows from her sense of herself as a work in progress, “a traditional artist still taking classes with my masters,” Võ says during a video call from her home in the El Cerrito hills.\u003c/p>\n\u003cp>“I never think I can finish learning,” she says. “They provide a time machine to go back to the past, and I have to create music that reflects my thinking and future generations.”\u003c/p>\n\u003cp>At their best, the encounters are win-win, an exchange that breaks down barriers between people and deepens one’s art. “I can get influences and give influences, which can help us get closer,” she says. “A lot of people are afraid of sharing. They think whatever they have will be stolen away. I’m not afraid of that. I never use any technique or school of thought to replace what I am, only to make my technique and instrument better.”\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/5cZgkQsfqhE'\n title='//www.youtube.com/embed/5cZgkQsfqhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Saturday’s concert is part of Cal Performances’ \u003cem>Illuminations:\u003c/em> “Place and Displacement” series, which features performances, public programs and academic events designed to investigate the ripples of migration and demographic change. No stranger to Cal Performances audiences, Võ has performed at Zellerbach Hall several times in collaboration with Kronos Quartet, most recently in 2018 in the fully staged opera \u003cem>My Lai\u003c/em> by composer Jonathan Berger and librettist Harriet Scott Chessman.\u003c/p>\n\u003cp>A rare exception to Cal Performances’ inattention to Bay Area-based artists, Kronos has been a primary conduit bringing local luminaries into the organization’s orbit (including Mahsa Vahdat, who also performs with the illustrious new music ensemble \u003ca href=\"https://calperformances.org/events/2021-22/new-music/kronos-quartet-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Thursday at Zellerbach\u003c/a>). With \u003cem>Songs of Strength\u003c/em>, Võ is holding the door opened by Kronos and ushering in a bevy of artists who’ve never played a Cal Performances engagement.\u003c/p>\n\u003cp>\u003cem>Songs of Strength\u003c/em> features Võ’s Blood Moon Orchestra, which may sound like a grand designation for a quartet. But her wildly disparate cast of East Bay artists can create sumptuously dynamic musical settings, building on the singular rhythm section tandem of Oakland taiko drummer Jimi Nakagawa and Berkeley electric bassist Kai Eckhardt. Eckhardt is a co-founder of the jam band Garaj Mahal, and has toured and recorded with heavyweights like guitarist John McLaughlin, tabla maestro Zakir Hussain and drummer Billy Cobham.\u003c/p>\n\u003cp>Blood Moon’s Joel Davel pivots between the rhythm section and melodic lead, providing orchestral accompaniment on marimba lumina, an electronic instrument with a limitless range of sonic possibilities. Võ spent several years scouting for the right percussionist or marimba player before she caught Davel performing with guitarist and composer Paul Dresher.\u003c/p>\n\u003cp>“I loved what he did,” she recalls. “He’s another person who wants to make his own instrument new, just like me. We find a lot in common. Let’s work together to create even more new sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She plays a number of traditional instruments but her primary musical vehicle, besides her voice, is a custom-designed, zither-like dan tranh with four additional strings (for a total of 20). Võ has honed extensive techniques: she uses a violin bow, a guitar effects box and various implements to strike the strings. Since many of the songs are in different keys, she brings several instruments on stage “so I do not have to torture the audience with retuning,” she says. The different instruments also allow her to assume various roles “to tell different stories and use different voices,” she says.\u003c/p>\n\u003cp>In many cases Võ collected her castmates along her wending trail of collaborations. She connected with Vahdat via Kronos Quartet and with Tunjie when LINES commissioned her to compose the score for the 2019 spring season. She quickly recognized that he possessed moves that didn’t hail from contemporary ballet. But even with King’s long history of setting dance to music from around the world, Tunjie had to dig deeply to embody the narratives sung in Vietnamese and Farsi.\u003c/p>\n\u003cp>“At first I was well out of my comfort zone,” Tunjie says. “Vân was asking that I approach it with some contemporary ballet, but more from a breakdancer or a popper’s viewpoint, challenging me to find out how I can express myself and the ideas in a different way. I so think I’m in a better position because of all the different music I’ve danced with LINES.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few weeks before showtime, Võ sounded both anxious and elated about the impending performance, which is now sold out. Regularly meeting to rehearse, the artists were still nailing down details and honing the production. She’s hoping that \u003cem>Songs of Strength\u003c/em> takes on a life of its own beyond Saturday’s show, and that some of her collaborators get the chance to bring their own projects to Zellerbach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have such incredible artists here,” Võ says. “Sometimes what we do can easily be overlooked. You think of hip-hop and East Oakland, it’s almost like in a different world. Taiko is so powerful compared to my delicate instrument. I’m proud to have them all on the same stage.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]M[/dropcap]ystic sits in her backyard on the kind of warm, autumn afternoon that makes people remark at how good it is to live in Oakland, California. Dappled light shines through a lush canopy of persimmon, fig and guava trees. Her pet lovebird chirps in the distance, and she’s snacking on almonds between Zoom calls with young musicians she mentors.\u003c/p>\n\u003cp>This is the veteran hip-hop artist’s little oasis, away from the unruliness of the city, where she ponders the changing seasons of life, love and art.\u003c/p>\n\u003cp>It’s a good time for reflection. The recent loss of her longtime close friend and Digital Underground collaborator, Shock G, shook her deeply. That, and the grief of living during a global pandemic, prompted her to listen inward and ask herself what would fulfill her soul right now.\u003c/p>\n\u003cp>“I mean, shouldn’t we be doing what we love? Isn’t it the time now?” she asks in her naturally poetic cadence, lowering her voice into a near-whisper. Then, she starts to get louder and more passionate, as if proclaiming a manifesto: “If we’re artists, and art is part of our healing journey, then we should all be making art right now, right? There should be art flooding our speakers and our museums and our buildings, right? Public art.”\u003c/p>\n\u003cp>And for \u003ca href=\"http://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>, one of the roles of hip-hop as a public art form is to bring traumas out of darkness and into the light, where they can be examined and processed—maybe even let go—in communion with others. That’s the power of her classic album \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, whose 20th anniversary Mystic is celebrating this year. She recently took ownership of the master recordings and put out a \u003ca href=\"https://anchor.fm/thatgirlmystic/episodes/ep-e1529j3\" target=\"_blank\" rel=\"noopener noreferrer\">podcast series\u003c/a> looking back at its creation. Now, she’s gearing up for a vinyl rerelease in December.\u003c/p>\n\u003cp>[pullquote size='large' citation='Mystic on owning her masters']“I think the benefit of owning that means nobody else gets to sell my trauma. Nobody else gets to sell my healing.”[/pullquote]\u003c/p>\n\u003cp>From the outside, it might look like Mystic is recommitting to her art after years of focusing on her other loves: academia and teaching. After \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> was released to great acclaim, she walked away from a record deal and took a different path that brought her to UC Berkeley and, eventually, the University of Oxford for her master’s degree in education. For years, she spent more time in kindergarten classrooms than on stage in front of fans. But to Mystic, these multiple pursuits are all part of one continuous quest to create, express and be of service.\u003c/p>\n\u003cp>“It takes life to make art,” she texts me after one of our conversations. “There are times of input and times of output. I take my time for input, and that includes healing, living, loving, working with children, school and community. When my art is ready to be born, that is output. That is all 😉.”\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t’s easy to see why \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> put Mystic, born Mandolyn Ludlum, on the precipice of major music industry success when it came out in 2001. The vulnerability and candor in her lyrics are magnetic as she zooms from sharp observations to intimate, personal confessions. She navigates a confusing labyrinth of pressures—both from an oppressive social order and within her own community—and carves out space for compassion and love for her people. Twenty years before the #MeToo movement and conversations about mental health became mainstream, Mystic rapped about losing her father to a drug overdose and surviving sexual abuse. She gave voice to struggles shrouded in stigma and shame.\u003c/p>\n\u003cp>“Part of what I hear back then is this fierce commitment to attempt to live and attempt to heal,” she says of her own recordings. “And so when I listen back to that and I read those lyrics, I just I want to tell her, ‘I love you.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1184030260/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>With its jazzy undertones and West Coast swing, \u003cem>Cuts for Luck\u003c/em> offers life-affirming moments of free-spirited fun and sexuality, too. Mystic’s delivery is smooth yet earnest, and she comes across as a warm, approachable, wise friend. It’s no wonder the album earned comparisons to \u003cem>The Miseducation of Lauryn Hill\u003c/em>—although to equate the work of two politically outspoken Gen X women in hip-hop would be an oversimplification.\u003c/p>\n\u003cp>With production from Zion I’s Amp Live, Hieroglyphics’ A-Plus, Shock G and several others, \u003cem>Cuts for Luck\u003c/em> is the result of a collaborative underground hip-hop scene that strived to push the boundaries of the craft. After living all over the West Coast, Mystic immersed herself in that community when she and her mom settled down in Oakland in 1989, the summer before her sophomore year of high school. (A-Plus was their neighbor across the street.) In her teens and 20s, she honed her skills at cyphers at friends’ houses, where they would rhyme, cook and drink beer.\u003c/p>\n\u003cp>“We were young and we were free, and it was the end of the decimation of communities from crack cocaine in the ’80s and Reaganomics,” she recalls. “There were still a lot of things going on and a lot of loss. But we were happy, you know. We were creating culture, creating hip-hop.”\u003c/p>\n\u003cfigure id=\"attachment_13906496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/du-crew-800x476.jpg\" alt=\"An archival film photo from the 1990s featuring a crew of hip-hop artists partying and laughing.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic and her Digital Underground family in the 1990s. \u003ccite>(Courtesy of Mystic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’90s, Mystic developed her stage presence at warehouse parties and open mics, where she’d rhyme alongside revered underground acts like Souls of Mischief. As she ascended to bigger stages, she opened for OutKast and Leaders of the New School, Busta Rhymes’ first group. Her lyrical prowess earned her respect, and eventually she became a member of Digital Underground (she first appears on their 1998 album \u003cem>Who Got the Gravy?\u003c/em>). \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, her solo debut, is as multifaceted as life in Oakland at the turn of the millennium.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he power, vulnerability and self-awareness Mystic projected on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> propelled her to great heights. She was nominated for a Grammy and a BET Award, and the music video for the lead single, “The Life,” was on TV.\u003c/p>\n\u003cp>https://youtu.be/pqw8tVLYhVI\u003c/p>\n\u003cp>In the 1990s, major labels signed a number of Bay Area artists, and West Coast hip-hop emerged as a commercial force. But the early-2000s era of illegal downloads caused chaos in the industry. Labels were merging and changing ownership, laying off staff and shelving artists’ work. The rerelease of \u003cem>Cuts for Luck and Scars for Freedom \u003c/em>was one such casualty.\u003c/p>\n\u003cp>Mystic originally released the album on the independent label Good Vibe, which had a joint venture deal with Jcor. When Jcor went out of business, Mystic and her Good Vibe team signed to DreamWorks. A rerelease was in the pipeline. It was supposed to introduce her to an even bigger audience—the first single, “\u003ca href=\"https://www.youtube.com/watch?v=XMINrw4aFSI\" target=\"_blank\" rel=\"noopener noreferrer\">Breathe (Better Days)\u003c/a>” produced by Kanye West and featuring Donell Jones, had been on the radio, and physical copies were sold in Japan. But the U.S. rollout kept getting stalled.\u003c/p>\n\u003cp>By 2004, Universal Music Group bought DreamWorks and absorbed it into Interscope, and her album was still in limbo. Mystic broke the emergency glass and hired a lawyer to get her out of her contract. And though she continued to create (she recorded the first track from her 2014 album \u003cem>Beautiful Resistance\u003c/em> after George Bush was declared winner of the 2004 election), Mystic set out on a new path towards higher education.\u003c/p>\n\u003cp>“Everybody was trying to figure out what was wrong with me,” she says. “My accountant, my lawyer, the label—everybody is like, ‘What is she doing,’ right? Because everything in front of her right now.”\u003c/p>\n\u003cp>Mystic knew she had to heed an internal calling. “I just felt like in order to not hate what I love, which is my art, that it was important for me to step back,” she says.\u003c/p>\n\u003cp>It wasn’t until 2019, after she finished her master’s degree, that Mystic discovered she owned the masters for \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>. And while artists like \u003ca href=\"https://www.nytimes.com/2021/02/11/arts/music/taylor-swift-rerecord-fearless.html\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a>, \u003ca href=\"https://people.com/music/ashanti-to-re-record-debut-album-after-gaining-ownership-of-her-masters/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashanti\u003c/a> and \u003ca href=\"https://www.essence.com/entertainment/anita-baker-says-you-can-stream-her-music-again/\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Baker\u003c/a> have had to fight to take ownership over their work, when Mystic went to Universal Music Group, it turned out all she had to do was ask.\u003c/p>\n\u003cp>“DreamWorks took what they owned,” she says. “Good Vibe wanted to keep the songs I had done with other artists on the label. Nobody kept the \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> album. But I didn’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic in her backyard oasis. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Would Mystic’s story have unfolded differently if she had known? She doesn’t like to dwell on it. But she still makes sure to tell her mentees, “Contact the label who owns [your masters] or the people you know to own them. They may not own them anymore. I may have just gotten really lucky, right, and the universe did that. I don’t know. But go and ask.”\u003c/p>\n\u003cp>Mystic poured herself into the songs on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, and for years listeners have told her that the album has helped them heal from their own life struggles. There’s power in reclaiming something so personally meaningful—to have full control over where the music is licensed and how much she gets paid, and to guarantee the album makes its way onto whatever new streaming platform emerges in the years to come.\u003c/p>\n\u003cp>“The songs that I wrote about my father, about the trauma that I’ve been through, about trying to navigate who I was as a young Black woman who was on a healing journey—like, that’s mine,” she says. “And I think the benefit of owning that means nobody else gets to sell my trauma. Nobody else gets to sell my healing.”\u003c/p>\n\u003cp>[dropcap]M[/dropcap]ystic’s second album, \u003cem>Beautiful Resistance\u003c/em>, didn’t come until she was entering her second year at UC Berkeley, in 2014. An “untraditional” student now in her 30s, she was fully focused on getting a degree so she could be of service to children. After studying child development and cultural anthropology at Los Angeles Valley College—and a transformational trip to Haiti, where she learned about child exploitation in the aftermath of the 2010 earthquake—she mapped out a new goal of creating an international arts program that would empower children of color across borders.\u003c/p>\n\u003cp>Music wasn’t top of mind until she attended Ananya Roy’s global poverty class. Roy was one of Cal’s star faculty—a professor with a contagious passion for social justice, whose lectures students would talk about in dining halls and in dorm rooms late at night. (She’s since moved on to become the inaugural director of UCLA’s Institute on Inequality and Democracy.) Mystic was moved when she heard Roy’s lecture about “insurgent architects,” people who work from within institutions to create progressive social change. Insurgent architects could even be artists, she remembers Roy telling the class. Even though there were hundreds of other students in the lecture hall, Mystic felt like Roy was speaking directly to her.\u003c/p>\n\u003cp>Then it hit her: “I can be a scholar and an artist and an educator and an activist.” Taking academia seriously didn’t mean she had to put down music.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3617047025/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>After the lecture, Mystic emailed Roy a note and attached a few tracks. The professor liked what she heard and encouraged Mystic to keep making music. As she prepared to enter her second year at Berkeley, \u003cem>Beautiful Resistance\u003c/em> was finally out in the world, 10 years after she recorded the first song.\u003c/p>\n\u003cp>“I released it on a Tuesday and I started a new semester on a Thursday,” Mystic remembers. A deepening of the themes on \u003cem>Cuts for Luck\u003c/em>, it features beautifully sung affirmations of Black love and resistance, with vibe-y inflections of jazz and soul.\u003c/p>\n\u003cp>But as soon as Mystic got \u003cem>Beautiful Resistance\u003c/em> out of her system, her mind was back on school. She was on a mission. “I graduated from college with a 4.0, right? I say that not to be like, ‘Oh, pop my collar.’ I say that as a representation of how I worked to internalize the knowledge, to be of service to children and the community.\u003ci>”\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13906497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic_HieroDay_2013-0001-800x533.jpg\" alt=\"Mystic raps on stage at an outdoor festival.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Mystic performed at Hiero Day in 2013 just days before starting her first semester at UC Berkeley. \u003ccite>(Eric Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]hat devotion to helping young people heal and grow through art comes from a profound place within Mystic. When she was a teenager, she dropped out of high school. Her teachers labeled her as gifted and talented, but she felt unchallenged and uninspired at Oakland High School. She longed for a creative outlet: she’d skip school and go to the public library to read books about the music business. Not only that, but she was suffering in silence after surviving a rape. She began to check out mentally—she had a natural love of learning but wasn’t in an environment that encouraged her to thrive.\u003c/p>\n\u003cp>In her life as an educator, Mystic wants her students to have a different experience than she did, whether she’s teaching in a classroom, an after-school arts program or at San Quentin State Prison. “I don’t really care about your math or your English. I mean, I do,” she says. “But like, [I also care about] whether you ate. And whether your heart is broken today and whether you’re losing people in your community, whether there’s abuse in your home, everything that you are having to live through, particularly as a young child.”\u003c/p>\n\u003cp>[pullquote size='large' citation='Mystic']“Children are the most natural advocates for human rights and justice in the world.”[/pullquote]\u003c/p>\n\u003cp>Mystic’s studies and travels endowed her with an international perspective on the related struggles of colonized people across the world. (While at Berkeley, she did a semester abroad in South Africa, where she studied post-apartheid education reforms.) After graduating from Berkeley in 2015 with a degree in independent studies, a self-directed major where she wrote a thesis on public policy, education and global poverty, she set off to Oxford to get a master’s degree in comparative and international education.\u003c/p>\n\u003cp>“My interest in education in an international sense is because the inequalities that exist right here in East Oakland also exist really everywhere else,” she says. “I ended up focusing on how elementary school educators of color are using culturally relevant arts education with students of color. And knowing personally, the arts are transformative. They save lives.”\u003c/p>\n\u003cp>[dropcap]M[/dropcap]ystic has spent much of the past decade in the “input” phase of her creative process. But in October 2020, after a summer of racial justice uprisings and just before the 2020 election, she decided to put out new track: “We Are the People (All Around the Word).” She wanted a protest song parents could sing with their children, a song for intergenerational activist spaces. It’s as much an indictment of racist power structures as it is a prayer for a world where the next generation can thrive.\u003c/p>\n\u003cp>“Children are the most natural advocates for human rights and justice in the world,” she says.\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=1586769193/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>Mystic won’t yet reveal what’s to come, but she’s been fully self-employed since September to focus on creating, cooking (another great love of hers), working with children and mentoring young people.\u003c/p>\n\u003cp>“We live in a social media age and everything happens in front of the camera,” she says. “I still will always be the artist who’s like, it’s really awesome when nobody knows what you’re doing, and nobody has any expectations and you can just be in your sacred journey.”\u003c/p>\n\u003cp>So what does this part of the path look like, making hip-hop at 47? Especially in an industry inundated with young, male perspectives? Mystic approaches it with a growth mindset.\u003c/p>\n\u003cp>“I still play with styles and I’m a master at what I do, but I’m always committed to, ‘How does that continue to develop?’” Mystic says. “And you talk about different things. I have seven godchildren. I have people with health issues that we don’t necessarily talk about, that happen when you get older: sister with fibroids, people with more cancer, people trying to determine, ‘Well, do I get to own a house?’ Our parents are getting older, right. And these are things we all think we know until we get there. And then when you get there, you go, ‘Oh, this is not really what I thought it was going to be.’” [aside postid='arts_13896288']\u003c/p>\n\u003cp>Confronting mortality has always been an element of hip-hop. Since the beginning, its most tremendous artists have come from neighborhoods where people become familiar with death and violence at too young an age. But with the deaths of Gen X hip-hop greats like Shock G, DMX and \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a> over the past year, health issues, aging and life’s precariousness are at the forefront of conversations among artists and fans.\u003c/p>\n\u003cp>“I was born within a year of the birth of hip-hop,” Mystic says. “What we’re doing right now has never been done before. It will always be youth-driven. But what [does it] look like to be an artist in our 40s or in our 50s?”\u003c/p>\n\u003cp>She pauses her train of thought to enumerate hip-hop’s many elder statespeople enjoying thriving careers: MC Lyte, Queen Latifah, E-40, Too $hort.\u003c/p>\n\u003cp>“You get there and you realize it’s a beautiful, full life,” she concludes, “if we’re blessed to have those opportunities. And particularly in our communities—with Black and Brown and Indigenous, economically vulnerable communities—it’s a lot of people who don’t live that long. And so in some ways, we’ve never seen what we’ve seen in hip-hop.”\u003c/p>\n\u003cp>In 1990, Shock G and Digital Underground famously rapped “\u003ca href=\"https://www.youtube.com/watch?v=31A6RjOxE74&ab_channel=TommyBoy\" target=\"_blank\" rel=\"noopener noreferrer\">Doowutchyalike\u003c/a>.” The time has come for Mystic, and all of us, to do what we love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>ystic sits in her backyard on the kind of warm, autumn afternoon that makes people remark at how good it is to live in Oakland, California. Dappled light shines through a lush canopy of persimmon, fig and guava trees. Her pet lovebird chirps in the distance, and she’s snacking on almonds between Zoom calls with young musicians she mentors.\u003c/p>\n\u003cp>This is the veteran hip-hop artist’s little oasis, away from the unruliness of the city, where she ponders the changing seasons of life, love and art.\u003c/p>\n\u003cp>It’s a good time for reflection. The recent loss of her longtime close friend and Digital Underground collaborator, Shock G, shook her deeply. That, and the grief of living during a global pandemic, prompted her to listen inward and ask herself what would fulfill her soul right now.\u003c/p>\n\u003cp>“I mean, shouldn’t we be doing what we love? Isn’t it the time now?” she asks in her naturally poetic cadence, lowering her voice into a near-whisper. Then, she starts to get louder and more passionate, as if proclaiming a manifesto: “If we’re artists, and art is part of our healing journey, then we should all be making art right now, right? There should be art flooding our speakers and our museums and our buildings, right? Public art.”\u003c/p>\n\u003cp>And for \u003ca href=\"http://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>, one of the roles of hip-hop as a public art form is to bring traumas out of darkness and into the light, where they can be examined and processed—maybe even let go—in communion with others. That’s the power of her classic album \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, whose 20th anniversary Mystic is celebrating this year. She recently took ownership of the master recordings and put out a \u003ca href=\"https://anchor.fm/thatgirlmystic/episodes/ep-e1529j3\" target=\"_blank\" rel=\"noopener noreferrer\">podcast series\u003c/a> looking back at its creation. Now, she’s gearing up for a vinyl rerelease in December.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the outside, it might look like Mystic is recommitting to her art after years of focusing on her other loves: academia and teaching. After \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> was released to great acclaim, she walked away from a record deal and took a different path that brought her to UC Berkeley and, eventually, the University of Oxford for her master’s degree in education. For years, she spent more time in kindergarten classrooms than on stage in front of fans. But to Mystic, these multiple pursuits are all part of one continuous quest to create, express and be of service.\u003c/p>\n\u003cp>“It takes life to make art,” she texts me after one of our conversations. “There are times of input and times of output. I take my time for input, and that includes healing, living, loving, working with children, school and community. When my art is ready to be born, that is output. That is all 😉.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t’s easy to see why \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> put Mystic, born Mandolyn Ludlum, on the precipice of major music industry success when it came out in 2001. The vulnerability and candor in her lyrics are magnetic as she zooms from sharp observations to intimate, personal confessions. She navigates a confusing labyrinth of pressures—both from an oppressive social order and within her own community—and carves out space for compassion and love for her people. Twenty years before the #MeToo movement and conversations about mental health became mainstream, Mystic rapped about losing her father to a drug overdose and surviving sexual abuse. She gave voice to struggles shrouded in stigma and shame.\u003c/p>\n\u003cp>“Part of what I hear back then is this fierce commitment to attempt to live and attempt to heal,” she says of her own recordings. “And so when I listen back to that and I read those lyrics, I just I want to tell her, ‘I love you.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1184030260/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>With its jazzy undertones and West Coast swing, \u003cem>Cuts for Luck\u003c/em> offers life-affirming moments of free-spirited fun and sexuality, too. Mystic’s delivery is smooth yet earnest, and she comes across as a warm, approachable, wise friend. It’s no wonder the album earned comparisons to \u003cem>The Miseducation of Lauryn Hill\u003c/em>—although to equate the work of two politically outspoken Gen X women in hip-hop would be an oversimplification.\u003c/p>\n\u003cp>With production from Zion I’s Amp Live, Hieroglyphics’ A-Plus, Shock G and several others, \u003cem>Cuts for Luck\u003c/em> is the result of a collaborative underground hip-hop scene that strived to push the boundaries of the craft. After living all over the West Coast, Mystic immersed herself in that community when she and her mom settled down in Oakland in 1989, the summer before her sophomore year of high school. (A-Plus was their neighbor across the street.) In her teens and 20s, she honed her skills at cyphers at friends’ houses, where they would rhyme, cook and drink beer.\u003c/p>\n\u003cp>“We were young and we were free, and it was the end of the decimation of communities from crack cocaine in the ’80s and Reaganomics,” she recalls. “There were still a lot of things going on and a lot of loss. But we were happy, you know. We were creating culture, creating hip-hop.”\u003c/p>\n\u003cfigure id=\"attachment_13906496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/du-crew-800x476.jpg\" alt=\"An archival film photo from the 1990s featuring a crew of hip-hop artists partying and laughing.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic and her Digital Underground family in the 1990s. \u003ccite>(Courtesy of Mystic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’90s, Mystic developed her stage presence at warehouse parties and open mics, where she’d rhyme alongside revered underground acts like Souls of Mischief. As she ascended to bigger stages, she opened for OutKast and Leaders of the New School, Busta Rhymes’ first group. Her lyrical prowess earned her respect, and eventually she became a member of Digital Underground (she first appears on their 1998 album \u003cem>Who Got the Gravy?\u003c/em>). \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, her solo debut, is as multifaceted as life in Oakland at the turn of the millennium.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he power, vulnerability and self-awareness Mystic projected on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> propelled her to great heights. She was nominated for a Grammy and a BET Award, and the music video for the lead single, “The Life,” was on TV.\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/pqw8tVLYhVI'\n title='//www.youtube.com/embed/pqw8tVLYhVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the 1990s, major labels signed a number of Bay Area artists, and West Coast hip-hop emerged as a commercial force. But the early-2000s era of illegal downloads caused chaos in the industry. Labels were merging and changing ownership, laying off staff and shelving artists’ work. The rerelease of \u003cem>Cuts for Luck and Scars for Freedom \u003c/em>was one such casualty.\u003c/p>\n\u003cp>Mystic originally released the album on the independent label Good Vibe, which had a joint venture deal with Jcor. When Jcor went out of business, Mystic and her Good Vibe team signed to DreamWorks. A rerelease was in the pipeline. It was supposed to introduce her to an even bigger audience—the first single, “\u003ca href=\"https://www.youtube.com/watch?v=XMINrw4aFSI\" target=\"_blank\" rel=\"noopener noreferrer\">Breathe (Better Days)\u003c/a>” produced by Kanye West and featuring Donell Jones, had been on the radio, and physical copies were sold in Japan. But the U.S. rollout kept getting stalled.\u003c/p>\n\u003cp>By 2004, Universal Music Group bought DreamWorks and absorbed it into Interscope, and her album was still in limbo. Mystic broke the emergency glass and hired a lawyer to get her out of her contract. And though she continued to create (she recorded the first track from her 2014 album \u003cem>Beautiful Resistance\u003c/em> after George Bush was declared winner of the 2004 election), Mystic set out on a new path towards higher education.\u003c/p>\n\u003cp>“Everybody was trying to figure out what was wrong with me,” she says. “My accountant, my lawyer, the label—everybody is like, ‘What is she doing,’ right? Because everything in front of her right now.”\u003c/p>\n\u003cp>Mystic knew she had to heed an internal calling. “I just felt like in order to not hate what I love, which is my art, that it was important for me to step back,” she says.\u003c/p>\n\u003cp>It wasn’t until 2019, after she finished her master’s degree, that Mystic discovered she owned the masters for \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>. And while artists like \u003ca href=\"https://www.nytimes.com/2021/02/11/arts/music/taylor-swift-rerecord-fearless.html\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a>, \u003ca href=\"https://people.com/music/ashanti-to-re-record-debut-album-after-gaining-ownership-of-her-masters/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashanti\u003c/a> and \u003ca href=\"https://www.essence.com/entertainment/anita-baker-says-you-can-stream-her-music-again/\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Baker\u003c/a> have had to fight to take ownership over their work, when Mystic went to Universal Music Group, it turned out all she had to do was ask.\u003c/p>\n\u003cp>“DreamWorks took what they owned,” she says. “Good Vibe wanted to keep the songs I had done with other artists on the label. Nobody kept the \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> album. But I didn’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic in her backyard oasis. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Would Mystic’s story have unfolded differently if she had known? She doesn’t like to dwell on it. But she still makes sure to tell her mentees, “Contact the label who owns [your masters] or the people you know to own them. They may not own them anymore. I may have just gotten really lucky, right, and the universe did that. I don’t know. But go and ask.”\u003c/p>\n\u003cp>Mystic poured herself into the songs on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, and for years listeners have told her that the album has helped them heal from their own life struggles. There’s power in reclaiming something so personally meaningful—to have full control over where the music is licensed and how much she gets paid, and to guarantee the album makes its way onto whatever new streaming platform emerges in the years to come.\u003c/p>\n\u003cp>“The songs that I wrote about my father, about the trauma that I’ve been through, about trying to navigate who I was as a young Black woman who was on a healing journey—like, that’s mine,” she says. “And I think the benefit of owning that means nobody else gets to sell my trauma. Nobody else gets to sell my healing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>ystic’s second album, \u003cem>Beautiful Resistance\u003c/em>, didn’t come until she was entering her second year at UC Berkeley, in 2014. An “untraditional” student now in her 30s, she was fully focused on getting a degree so she could be of service to children. After studying child development and cultural anthropology at Los Angeles Valley College—and a transformational trip to Haiti, where she learned about child exploitation in the aftermath of the 2010 earthquake—she mapped out a new goal of creating an international arts program that would empower children of color across borders.\u003c/p>\n\u003cp>Music wasn’t top of mind until she attended Ananya Roy’s global poverty class. Roy was one of Cal’s star faculty—a professor with a contagious passion for social justice, whose lectures students would talk about in dining halls and in dorm rooms late at night. (She’s since moved on to become the inaugural director of UCLA’s Institute on Inequality and Democracy.) Mystic was moved when she heard Roy’s lecture about “insurgent architects,” people who work from within institutions to create progressive social change. Insurgent architects could even be artists, she remembers Roy telling the class. Even though there were hundreds of other students in the lecture hall, Mystic felt like Roy was speaking directly to her.\u003c/p>\n\u003cp>Then it hit her: “I can be a scholar and an artist and an educator and an activist.” Taking academia seriously didn’t mean she had to put down music.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3617047025/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>After the lecture, Mystic emailed Roy a note and attached a few tracks. The professor liked what she heard and encouraged Mystic to keep making music. As she prepared to enter her second year at Berkeley, \u003cem>Beautiful Resistance\u003c/em> was finally out in the world, 10 years after she recorded the first song.\u003c/p>\n\u003cp>“I released it on a Tuesday and I started a new semester on a Thursday,” Mystic remembers. A deepening of the themes on \u003cem>Cuts for Luck\u003c/em>, it features beautifully sung affirmations of Black love and resistance, with vibe-y inflections of jazz and soul.\u003c/p>\n\u003cp>But as soon as Mystic got \u003cem>Beautiful Resistance\u003c/em> out of her system, her mind was back on school. She was on a mission. “I graduated from college with a 4.0, right? I say that not to be like, ‘Oh, pop my collar.’ I say that as a representation of how I worked to internalize the knowledge, to be of service to children and the community.\u003ci>”\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13906497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic_HieroDay_2013-0001-800x533.jpg\" alt=\"Mystic raps on stage at an outdoor festival.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Mystic performed at Hiero Day in 2013 just days before starting her first semester at UC Berkeley. \u003ccite>(Eric Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hat devotion to helping young people heal and grow through art comes from a profound place within Mystic. When she was a teenager, she dropped out of high school. Her teachers labeled her as gifted and talented, but she felt unchallenged and uninspired at Oakland High School. She longed for a creative outlet: she’d skip school and go to the public library to read books about the music business. Not only that, but she was suffering in silence after surviving a rape. She began to check out mentally—she had a natural love of learning but wasn’t in an environment that encouraged her to thrive.\u003c/p>\n\u003cp>In her life as an educator, Mystic wants her students to have a different experience than she did, whether she’s teaching in a classroom, an after-school arts program or at San Quentin State Prison. “I don’t really care about your math or your English. I mean, I do,” she says. “But like, [I also care about] whether you ate. And whether your heart is broken today and whether you’re losing people in your community, whether there’s abuse in your home, everything that you are having to live through, particularly as a young child.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mystic’s studies and travels endowed her with an international perspective on the related struggles of colonized people across the world. (While at Berkeley, she did a semester abroad in South Africa, where she studied post-apartheid education reforms.) After graduating from Berkeley in 2015 with a degree in independent studies, a self-directed major where she wrote a thesis on public policy, education and global poverty, she set off to Oxford to get a master’s degree in comparative and international education.\u003c/p>\n\u003cp>“My interest in education in an international sense is because the inequalities that exist right here in East Oakland also exist really everywhere else,” she says. “I ended up focusing on how elementary school educators of color are using culturally relevant arts education with students of color. And knowing personally, the arts are transformative. They save lives.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>ystic has spent much of the past decade in the “input” phase of her creative process. But in October 2020, after a summer of racial justice uprisings and just before the 2020 election, she decided to put out new track: “We Are the People (All Around the Word).” She wanted a protest song parents could sing with their children, a song for intergenerational activist spaces. It’s as much an indictment of racist power structures as it is a prayer for a world where the next generation can thrive.\u003c/p>\n\u003cp>“Children are the most natural advocates for human rights and justice in the world,” she says.\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=1586769193/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>Mystic won’t yet reveal what’s to come, but she’s been fully self-employed since September to focus on creating, cooking (another great love of hers), working with children and mentoring young people.\u003c/p>\n\u003cp>“We live in a social media age and everything happens in front of the camera,” she says. “I still will always be the artist who’s like, it’s really awesome when nobody knows what you’re doing, and nobody has any expectations and you can just be in your sacred journey.”\u003c/p>\n\u003cp>So what does this part of the path look like, making hip-hop at 47? Especially in an industry inundated with young, male perspectives? Mystic approaches it with a growth mindset.\u003c/p>\n\u003cp>“I still play with styles and I’m a master at what I do, but I’m always committed to, ‘How does that continue to develop?’” Mystic says. “And you talk about different things. I have seven godchildren. I have people with health issues that we don’t necessarily talk about, that happen when you get older: sister with fibroids, people with more cancer, people trying to determine, ‘Well, do I get to own a house?’ Our parents are getting older, right. And these are things we all think we know until we get there. And then when you get there, you go, ‘Oh, this is not really what I thought it was going to be.’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Confronting mortality has always been an element of hip-hop. Since the beginning, its most tremendous artists have come from neighborhoods where people become familiar with death and violence at too young an age. But with the deaths of Gen X hip-hop greats like Shock G, DMX and \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a> over the past year, health issues, aging and life’s precariousness are at the forefront of conversations among artists and fans.\u003c/p>\n\u003cp>“I was born within a year of the birth of hip-hop,” Mystic says. “What we’re doing right now has never been done before. It will always be youth-driven. But what [does it] look like to be an artist in our 40s or in our 50s?”\u003c/p>\n\u003cp>She pauses her train of thought to enumerate hip-hop’s many elder statespeople enjoying thriving careers: MC Lyte, Queen Latifah, E-40, Too $hort.\u003c/p>\n\u003cp>“You get there and you realize it’s a beautiful, full life,” she concludes, “if we’re blessed to have those opportunities. And particularly in our communities—with Black and Brown and Indigenous, economically vulnerable communities—it’s a lot of people who don’t live that long. And so in some ways, we’ve never seen what we’ve seen in hip-hop.”\u003c/p>\n\u003cp>In 1990, Shock G and Digital Underground famously rapped “\u003ca href=\"https://www.youtube.com/watch?v=31A6RjOxE74&ab_channel=TommyBoy\" target=\"_blank\" rel=\"noopener noreferrer\">Doowutchyalike\u003c/a>.” The time has come for Mystic, and all of us, to do what we love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans",
"headTitle": "The Long and Winding Beatles Docuseries Will Enchant Die-Hard and Casual Fans | KQED",
"content": "\u003cp>As I see it, there are two very different audiences for \u003cem>Get Back, \u003c/em>\u003ca href=\"https://www.npr.org/2019/01/30/689961544/peter-jackson-to-direct-documentary-on-the-beatles-recording-let-it-be\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Jackson\u003c/a>‘s new documentary about \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener noreferrer\">The Beatles\u003c/a>‘ \u003cem>Let It Be \u003c/em>sessions. There are the most rabid fans, who will watch it and recognize instantly the stuff they’ve never heard or seen before. And for them—well, for us, because I’m part of that group—this Disney+ docuseries is a true treasure. For everyone else, the first part of \u003cem>The Beatles: Get Back \u003c/em>may be slow going.\u003c/p>\n\u003cp>[aside postid='arts_13890087']What you’re basically doing is watching John Lennon, Paul McCartney, George Harrison and Ringo Starr rehearse, revise and procrastinate. They debate a lot about where to stage their planned concert and even what songs to include. At one point, they decide to revisit a lot of compositions they wrote and abandoned much earlier in their careers, in case they could use some to pad out the set list. One such song, “One After 909,” makes the cut, and ends up being one of the album’s high-energy highlights. Another number with a blatant country flavor, “Because I Know You Love Me So,” surfaces for the first time here, with Paul dismissing it as soon as they finish performing it.\u003c/p>\n\u003cp>There are joys even in this early stretch, because you get to see the original \u003cem>Let It Be \u003c/em>documentary, directed by Michael Lindsay-Hogg, take shape. At first, The Beatles and the film crew assemble on a cavernous movie soundstage to rehearse, and on Day 1, Lindsay-Hogg actually approaches the Beatles and asks them to play more quietly so that he can record their conversations.\u003c/p>\n\u003cp>As tensions rise during early rehearsals, the cameras captures everything, including the moment when George responds to a casual call for a lunch break by telling his fellow Beatles, just as casually, that he’s taking a break from the band—effective immediately. He ends up gone for days.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Auta2lagtw4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>[aside postid='arts_10742450']The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I see it, there are two very different audiences for \u003cem>Get Back, \u003c/em>\u003ca href=\"https://www.npr.org/2019/01/30/689961544/peter-jackson-to-direct-documentary-on-the-beatles-recording-let-it-be\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Jackson\u003c/a>‘s new documentary about \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener noreferrer\">The Beatles\u003c/a>‘ \u003cem>Let It Be \u003c/em>sessions. There are the most rabid fans, who will watch it and recognize instantly the stuff they’ve never heard or seen before. And for them—well, for us, because I’m part of that group—this Disney+ docuseries is a true treasure. For everyone else, the first part of \u003cem>The Beatles: Get Back \u003c/em>may be slow going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What you’re basically doing is watching John Lennon, Paul McCartney, George Harrison and Ringo Starr rehearse, revise and procrastinate. They debate a lot about where to stage their planned concert and even what songs to include. At one point, they decide to revisit a lot of compositions they wrote and abandoned much earlier in their careers, in case they could use some to pad out the set list. One such song, “One After 909,” makes the cut, and ends up being one of the album’s high-energy highlights. Another number with a blatant country flavor, “Because I Know You Love Me So,” surfaces for the first time here, with Paul dismissing it as soon as they finish performing it.\u003c/p>\n\u003cp>There are joys even in this early stretch, because you get to see the original \u003cem>Let It Be \u003c/em>documentary, directed by Michael Lindsay-Hogg, take shape. At first, The Beatles and the film crew assemble on a cavernous movie soundstage to rehearse, and on Day 1, Lindsay-Hogg actually approaches the Beatles and asks them to play more quietly so that he can record their conversations.\u003c/p>\n\u003cp>As tensions rise during early rehearsals, the cameras captures everything, including the moment when George responds to a casual call for a lunch break by telling his fellow Beatles, just as casually, that he’s taking a break from the band—effective immediately. He ends up gone for days.\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/Auta2lagtw4'\n title='//www.youtube.com/embed/Auta2lagtw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tension behind that temporary breakup is the drama that dominated the original \u003cem>Let It Be\u003c/em> film, but it’s only one of three major elements in Jackson’s expanded three-part docuseries. Part one, the first day of the TV series, is about the breakup. Part two is about the reconciliation—and the energy infusion that comes when the group moves to a smaller and friendlier rehearsal space, and when keyboard player \u003ca href=\"https://www.npr.org/2011/01/20/133085213/billy-preston-the-fifth-beatle-reborn\" target=\"_blank\" rel=\"noopener noreferrer\">Billy Preston \u003c/a>drops by and instantly is invited to sit in on the sessions. And the focus of part three is the complete concert, which The Beatles finally decide to hold as an impromptu event on the roof of their own building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.npr.org/sections/allsongs/2019/01/30/688814122/remembering-the-beatles-rooftop-gig-50-years-later-with-someone-who-was-there\" target=\"_blank\" rel=\"noopener noreferrer\">rooftop concert\u003c/a> here, with much more music and material than in the original \u003cem>Let It Be \u003c/em>movie, is the part that should excite and enchant even the most casual Beatles fans. The concert is amazing—and so is the group’s joyful reaction listening to the playback immediately afterward. It’s a great end to this particular story, but not to the story of The Beatles. Earlier, this documentary shows them rehearsing not only songs for the \u003cem>Let It Be \u003c/em>album, but for three of their respective upcoming solo albums. They also rehearse lots of songs that would end up on \u003ca href=\"https://www.npr.org/2012/10/21/163096246/the-trail-abbey-road-blazed-still-glows\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Abbey Road\u003c/em>\u003c/a>\u003cem>, \u003c/em>which they would begin recording immediately after that rooftop concert. And to me, watching and hearing songs like Harrison’s “Something” take shape, with input from Lennon, is priceless.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So my final verdict on \u003cem>The Beatles: Get Back\u003c/em> documentary is this: Even if you don’t know much about The Beatles, or don’t care much about them, you should watch the final third of this new TV show—then, after you’re persuaded of their brilliance and are hooked, then work your way backward. But if you know and love the group enough to get excited by learning about their creative process, and by witnessing it in real time, this new documentary is made for you. And for me.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+long+and+winding+Beatles+docuseries+will+enchant+die-hard+and+casual+fans+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Stephen Sondheim, a Giant of Musical Theater, Dies at 91",
"headTitle": "Stephen Sondheim, a Giant of Musical Theater, Dies at 91 | KQED",
"content": "\u003cp>Stephen Sondheim, the songwriter who reshaped the American musical theater in the second half of the 20th century with his intelligent, intricately rhymed lyrics, his use of evocative melodies and his willingness to tackle unusual subjects, has died. He was 91.\u003c/p>\n\u003cp>Sondheim’s death was announced by his Texas-based attorney, Rick Pappas, who told The New York Times the composer died Friday at his home in Roxbury, Connecticut. Pappas did not return calls and messages to The Associated Press.\u003c/p>\n\u003cp>Sondheim influenced several generations of theater songwriters, particularly with such landmark musicals as “Company,” “Follies” and “Sweeney Todd,” which are considered among his best work. His most famous ballad, “Send in the Clowns,” has been recorded hundreds of times, including by Frank Sinatra and Judy Collins.\u003c/p>\n\u003cp>The artist refused to repeat himself, finding inspiration for his shows in such diverse subjects as an Ingmar Bergman movie (“A Little Night Music”), the opening of Japan to the West (“Pacific Overtures”), French painter Georges Seurat (“Sunday in the Park With George”), Grimm’s fairy tales (“Into the Woods”) and even the killers of American presidents (“Assassins”), among others.\u003c/p>\n\u003cp>“The theater has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky. But the brilliance of Stephen Sondheim will still be here as his legendary songs and shows will be performed for evermore,” producer Cameron Mackintosh wrote in tribute.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six of Sondheim’s musicals won Tony Awards for best score, and he also received a Pulitzer Prize (“Sunday in the Park”), an Academy Award (for the song “Sooner or Later” from the film “Dick Tracy”), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement.\u003c/p>\n\u003cfigure id=\"attachment_13906558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sondheim.Obama_-800x533.jpg\" alt=\"The president places a gold medal around the neck of Stephen Sondheim.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13906558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">US President Barack Obama presents the Presidential Medal of Freedom to theater composer and lyricist Stephen Sondheim at the White House in Washington, DC, on November 24, 2015. \u003ccite>(Nicholas Kamm/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sondheim’s music and lyrics gave his shows a dark, dramatic edge, whereas before him, the dominant tone of musicals was frothy and comic. He was sometimes criticized as a composer of unhummable songs, a badge that didn’t bother Sondheim. Frank Sinatra, who had a hit with Sondheim’s “Send in the Clowns,” once complained: “He could make me a lot happier if he’d write more songs for saloon singers like me.”\u003c/p>\n\u003cp>To theater fans, Sondheim’s sophistication and brilliance made him an icon. A Broadway theater was named after him. A New York magazine cover asked “Is Sondheim God?” The Guardian newspaper once offered this question: “Is Stephen Sondheim the Shakespeare of musical theatre?”\u003c/p>\n\u003cp>A supreme wordsmith — and an avid player of word games — Sondheim’s joy of language shone through. “The opposite of left is right/The opposite of right is wrong/So anyone who’s left is wrong, right?” he wrote in “Anyone Can Whistle.” In “Company,” he penned the lines: “Good things get better/Bad gets worse/Wait — I think I meant that in reverse.”\u003c/p>\n\u003cp>He offered the three principles necessary for a songwriter in his first volume of collected lyrics — Content Dictates Form, Less Is More, and God Is in the Details. All these truisms, he wrote, were “in the service of Clarity, without which nothing else matters.” Together they led to stunning lines like: “It’s a very short road from the pinch and the punch to the paunch and the pouch and the pension.”\u003c/p>\n\u003cp>Taught by no less a genius than Oscar Hammerstein, Sondheim pushed the musical into a darker, richer and more intellectual place. “If you think of a theater lyric as a short story, as I do, then every line has the weight of a paragraph,” he wrote in his 2010 book, “Finishing the Hat,” the first volume of his collection of lyrics and comments.\u003c/p>\n\u003cp>Early in his career, Sondheim wrote the lyrics for two shows considered to be classics of the American stage, “West Side Story” (1957) and “Gypsy” (1959). “West Side Story,” with music by Leonard Bernstein, transplanted Shakespeare’s “Romeo and Juliet” to the streets and gangs of modern-day New York. “Gypsy,” with music by Jule Styne, told the backstage story of the ultimate stage mother and the daughter who grew up to be Gypsy Rose Lee.\u003c/p>\n\u003cp>It was not until 1962 that Sondheim wrote both music and lyrics for a Broadway show, and it turned out to be a smash — the bawdy “A Funny Thing Happened on the Way to the Forum,” starring Zero Mostel as a wily slave in ancient Rome yearning to be free.\u003c/p>\n\u003cp>Yet his next show, “Anyone Can Whistle” (1964), flopped, running only nine performances but achieving cult status after its cast recording was released. Sondheim’s 1965 lyric collaboration with composer Richard Rodgers — “Do I Hear a Waltz?” — also turned out to be problematic. The musical, based on the play “The Time of the Cuckoo,” ran for six months but was an unhappy experience for both men, who did not get along.\u003c/p>\n\u003cp>It was “Company,” which opened on Broadway in April 1970, that cemented Sondheim’s reputation. The episodic adventures of a bachelor (played by Dean Jones) with an inability to commit to a relationship was hailed as capturing the obsessive nature of striving, self-centered New Yorkers. The show, produced and directed by Hal Prince, won Sondheim his first Tony for best score. “The Ladies Who Lunch” became a standard for Elaine Stritch.\u003c/p>\n\u003cp>The following year, Sondheim wrote the score for “Follies,” a look at the shattered hopes and disappointed dreams of women who had appeared in lavish Ziegfeld-style revues. The music and lyrics paid homage to great composers of the past such as Jerome Kern, Cole Porter the Gershwins.\u003c/p>\n\u003cp>In 1973, “A Little Night Music,” starring Glynis Johns and Len Cariou, opened. Based on Bergman’s “Smiles of a Summer Night,” this rueful romance of middle-age lovers contains the song “Send in the Clowns,” which gained popularity outside the show. A revival in 2009 starred Angela Lansbury and Catherine Zeta-Jones was nominated for a best revival Tony.\u003c/p>\n\u003cp>“Pacific Overtures,” with a book by John Weidman, followed in 1976. The musical, also produced and directed by Prince, was not a financial success, but it demonstrated Sondheim’s commitment to offbeat material, filtering its tale of the westernization of Japan through a hybrid American-Kabuki style.\u003c/p>\n\u003cp>In 1979, Sondheim and Prince collaborated on what many believe to be Sondheim’s masterpiece, the bloody yet often darkly funny “Sweeney Todd.” An ambitious work, it starred Cariou in the title role as a murderous barber whose customers end up in meat pies baked by Todd’s willing accomplice, played by Angela Lansbury.\u003c/p>\n\u003cp>The Sondheim-Prince partnership collapsed two years later, after “Merrily We Roll Along,” a musical that traced a friendship backward from its characters’ compromised middle age to their idealistic youth. The show, based on a play by George S. Kaufman and Moss Hart, only ran two weeks on Broadway. But again, as with “Anyone Can Whistle,” its original cast recording helped “Merrily We Roll Along” to become a favorite among musical-theater buffs.\u003c/p>\n\u003cp>“Sunday in the Park,” written with James Lapine, may be Sondheim’s most personal show. A tale of uncompromising artistic creation, it told the story of artist Georges Seurat, played by Mandy Patinkin. The painter submerges everything in his life, including his relationship with his model (Bernadette Peters), for his art.) It was most recently revived on Broadway in 2017 with Jake Gyllenhaal.)\u003c/p>\n\u003cp>Three years after “Sunday” debuted, Sondheim collaborated again with Lapine, this time on the fairy-tale musical “Into the Woods.” The show starred Peters as a glamorous witch and dealt primarily with the turbulent relationships between parents and children, using such famous fairy-tale characters as Cinderella, Little Red Riding Hood and Rapunzel. It was most recently revived in the summer of 2012 in Central Park by The Public Theater.\u003c/p>\n\u003cp>“Assassins” opened off-Broadway in 1991 and it looked at the men and women who wanted to kill presidents, from John Wilkes Booth to John Hinckley. The show received mostly negative reviews in its original incarnation, but many of those critics reversed themselves 13 years later when the show was done on Broadway and won a Tony for best musical revival.\u003c/p>\n\u003cp>“Passion” was another severe look at obsession, this time a desperate woman, played by Donna Murphy, in love with a handsome soldier. Despite winning the best-musical Tony in 1994, the show barely managed a six-month run.\u003c/p>\n\u003cp>A new version of “The Frogs,” with additional songs by Sondheim and a revised book by Nathan Lane (who also starred in the production), played Lincoln Center during the summer of 2004. The show, based on the Aristophanes comedy, originally had been done 20 years earlier in the Yale University swimming pool.\u003c/p>\n\u003cp>One of his more troubled shows was “Road Show,” which reunited Sondheim and Weidman and spent years being worked on. This tale of the Mizner brothers, whose get-rich schemes in the early part of the 20th century finally made it to the Public Theater in 2008 after going through several different titles, directors and casts.\u003c/p>\n\u003cp>He had been working on a new musical with “Venus in Fur” playwright David Ives, who called his collaborator a genius. “Not only are his musicals brilliant, but I can’t think of another theater person who has so chronicled a whole age so eloquently,” Ives said in 2013. “He is the spirit of the age in a certain way.”\u003c/p>\n\u003cp>Sondheim was born March 22, 1930, into a wealthy family, the only son of dress manufacturer Herbert Sondheim and Helen Fox Sondheim. At 10, his parents divorced and Sondheim’s mother bought a house in Doylestown, Pa., where one of their Bucks County neighbors was lyricist Oscar Hammerstein II, whose son, James, was Sondheim’s roommate at boarding school. It was Oscar Hammerstein who became the young man’s professional mentor and a good friend.\u003c/p>\n\u003cp>He had a solitary childhood, once in which involved verbal abuse from his chilly mother. He received a letter in his 40s from her telling him that she regretted giving birth to him. He continued to support her financially and to see her occasionally but didn’t attend her funeral.\u003c/p>\n\u003cp>Sondheim attended Williams College in Massachusetts, where he majored in music. After graduation, he received a two-year fellowship to study with avant-garde composer Milton Babbitt.\u003c/p>\n\u003cp>One of Sondheim’s first jobs was writing scripts for the television show “Topper,” which ran for two years (1953-1955). At the same time, Sondheim wrote his first musical, “Saturday Night,” the story of a group of young people in Brooklyn in 1920s. It was to have opened on Broadway in 1955, but its producer died just as the musical was about to go into production, and the show was scrapped. “Saturday Night” finally arrived in New York in 1997 in a small, off-Broadway production.\u003c/p>\n\u003cp>Sondheim wrote infrequently for the movies. He collaborated with actor Anthony Perkins on the script for the 1973 murder mystery “The Last of Sheila,” and besides his work on “Dick Tracy” (1990), wrote scores for such movies as Alain Resnais’ “Stavisky” (1974) and Warren Beatty’s “Reds” (1981).\u003c/p>\n\u003cp>Over the years, there have been many Broadway revivals of Sondheim shows, especially “Gypsy,” which had reincarnations starring Angela Lansbury (1974), Tyne Daly (1989) and Peters (2003). But there also were productions of “A Funny Thing,” one with Phil Silvers in 1972 and another starring Nathan Lane in 1996; “Into the Woods” with Vanessa Williams in 2002; and even of Sondheim’s less successful shows such as “Assassins” and “Pacific Overtures,” both in 2004. “Sweeney Todd” has been produced in opera houses around the world. A reimagined “West Side Story” opened on Broadway in 2020 and a scrambled “Company” opened on Broadway in 2021 with the genders of the actors switched.\u003c/p>\n\u003cp>Sondheim’s songs have been used extensively in revues, the best-known being “Side by Side by Sondheim” (1976) on Broadway and “Putting It Together,” off-Broadway with Julie Andrews in 1992 and on Broadway with Carol Burnett in 1999. The New York Philharmonic put on a star-studded “Company” in 2011 with Neil Patrick Harris and Stephen Colbert. Tunes from his musicals have lately popped up everywhere from “Marriage Story” to “The Morning Show.”\u003c/p>\n\u003cp>An HBO documentary directed by Lapine, “Six by Sondheim,” aired in 2013 and revealed that he liked to compose lying down and sometimes enjoyed a cocktail to loosen up as he wrote. He even revealed that he really only fell in love after reaching 60, first with the dramatist Peter Jones and then in his last years with Jeff Romley.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In September 2010, the Henry Miller Theatre was renamed the Stephen Sondheim Theatre. “I’m deeply embarrassed. I’m thrilled, but deeply embarrassed,” he said as the sun fell over dozens of clapping admirers in Times Square. Then he revealed his perfectionist streak: “I’ve always hated my last name. It just doesn’t sing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Sondheim, the songwriter who reshaped the American musical theater in the second half of the 20th century with his intelligent, intricately rhymed lyrics, his use of evocative melodies and his willingness to tackle unusual subjects, has died. He was 91.\u003c/p>\n\u003cp>Sondheim’s death was announced by his Texas-based attorney, Rick Pappas, who told The New York Times the composer died Friday at his home in Roxbury, Connecticut. Pappas did not return calls and messages to The Associated Press.\u003c/p>\n\u003cp>Sondheim influenced several generations of theater songwriters, particularly with such landmark musicals as “Company,” “Follies” and “Sweeney Todd,” which are considered among his best work. His most famous ballad, “Send in the Clowns,” has been recorded hundreds of times, including by Frank Sinatra and Judy Collins.\u003c/p>\n\u003cp>The artist refused to repeat himself, finding inspiration for his shows in such diverse subjects as an Ingmar Bergman movie (“A Little Night Music”), the opening of Japan to the West (“Pacific Overtures”), French painter Georges Seurat (“Sunday in the Park With George”), Grimm’s fairy tales (“Into the Woods”) and even the killers of American presidents (“Assassins”), among others.\u003c/p>\n\u003cp>“The theater has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky. But the brilliance of Stephen Sondheim will still be here as his legendary songs and shows will be performed for evermore,” producer Cameron Mackintosh wrote in tribute.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six of Sondheim’s musicals won Tony Awards for best score, and he also received a Pulitzer Prize (“Sunday in the Park”), an Academy Award (for the song “Sooner or Later” from the film “Dick Tracy”), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement.\u003c/p>\n\u003cfigure id=\"attachment_13906558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sondheim.Obama_-800x533.jpg\" alt=\"The president places a gold medal around the neck of Stephen Sondheim.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13906558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sondheim.Obama_.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">US President Barack Obama presents the Presidential Medal of Freedom to theater composer and lyricist Stephen Sondheim at the White House in Washington, DC, on November 24, 2015. \u003ccite>(Nicholas Kamm/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sondheim’s music and lyrics gave his shows a dark, dramatic edge, whereas before him, the dominant tone of musicals was frothy and comic. He was sometimes criticized as a composer of unhummable songs, a badge that didn’t bother Sondheim. Frank Sinatra, who had a hit with Sondheim’s “Send in the Clowns,” once complained: “He could make me a lot happier if he’d write more songs for saloon singers like me.”\u003c/p>\n\u003cp>To theater fans, Sondheim’s sophistication and brilliance made him an icon. A Broadway theater was named after him. A New York magazine cover asked “Is Sondheim God?” The Guardian newspaper once offered this question: “Is Stephen Sondheim the Shakespeare of musical theatre?”\u003c/p>\n\u003cp>A supreme wordsmith — and an avid player of word games — Sondheim’s joy of language shone through. “The opposite of left is right/The opposite of right is wrong/So anyone who’s left is wrong, right?” he wrote in “Anyone Can Whistle.” In “Company,” he penned the lines: “Good things get better/Bad gets worse/Wait — I think I meant that in reverse.”\u003c/p>\n\u003cp>He offered the three principles necessary for a songwriter in his first volume of collected lyrics — Content Dictates Form, Less Is More, and God Is in the Details. All these truisms, he wrote, were “in the service of Clarity, without which nothing else matters.” Together they led to stunning lines like: “It’s a very short road from the pinch and the punch to the paunch and the pouch and the pension.”\u003c/p>\n\u003cp>Taught by no less a genius than Oscar Hammerstein, Sondheim pushed the musical into a darker, richer and more intellectual place. “If you think of a theater lyric as a short story, as I do, then every line has the weight of a paragraph,” he wrote in his 2010 book, “Finishing the Hat,” the first volume of his collection of lyrics and comments.\u003c/p>\n\u003cp>Early in his career, Sondheim wrote the lyrics for two shows considered to be classics of the American stage, “West Side Story” (1957) and “Gypsy” (1959). “West Side Story,” with music by Leonard Bernstein, transplanted Shakespeare’s “Romeo and Juliet” to the streets and gangs of modern-day New York. “Gypsy,” with music by Jule Styne, told the backstage story of the ultimate stage mother and the daughter who grew up to be Gypsy Rose Lee.\u003c/p>\n\u003cp>It was not until 1962 that Sondheim wrote both music and lyrics for a Broadway show, and it turned out to be a smash — the bawdy “A Funny Thing Happened on the Way to the Forum,” starring Zero Mostel as a wily slave in ancient Rome yearning to be free.\u003c/p>\n\u003cp>Yet his next show, “Anyone Can Whistle” (1964), flopped, running only nine performances but achieving cult status after its cast recording was released. Sondheim’s 1965 lyric collaboration with composer Richard Rodgers — “Do I Hear a Waltz?” — also turned out to be problematic. The musical, based on the play “The Time of the Cuckoo,” ran for six months but was an unhappy experience for both men, who did not get along.\u003c/p>\n\u003cp>It was “Company,” which opened on Broadway in April 1970, that cemented Sondheim’s reputation. The episodic adventures of a bachelor (played by Dean Jones) with an inability to commit to a relationship was hailed as capturing the obsessive nature of striving, self-centered New Yorkers. The show, produced and directed by Hal Prince, won Sondheim his first Tony for best score. “The Ladies Who Lunch” became a standard for Elaine Stritch.\u003c/p>\n\u003cp>The following year, Sondheim wrote the score for “Follies,” a look at the shattered hopes and disappointed dreams of women who had appeared in lavish Ziegfeld-style revues. The music and lyrics paid homage to great composers of the past such as Jerome Kern, Cole Porter the Gershwins.\u003c/p>\n\u003cp>In 1973, “A Little Night Music,” starring Glynis Johns and Len Cariou, opened. Based on Bergman’s “Smiles of a Summer Night,” this rueful romance of middle-age lovers contains the song “Send in the Clowns,” which gained popularity outside the show. A revival in 2009 starred Angela Lansbury and Catherine Zeta-Jones was nominated for a best revival Tony.\u003c/p>\n\u003cp>“Pacific Overtures,” with a book by John Weidman, followed in 1976. The musical, also produced and directed by Prince, was not a financial success, but it demonstrated Sondheim’s commitment to offbeat material, filtering its tale of the westernization of Japan through a hybrid American-Kabuki style.\u003c/p>\n\u003cp>In 1979, Sondheim and Prince collaborated on what many believe to be Sondheim’s masterpiece, the bloody yet often darkly funny “Sweeney Todd.” An ambitious work, it starred Cariou in the title role as a murderous barber whose customers end up in meat pies baked by Todd’s willing accomplice, played by Angela Lansbury.\u003c/p>\n\u003cp>The Sondheim-Prince partnership collapsed two years later, after “Merrily We Roll Along,” a musical that traced a friendship backward from its characters’ compromised middle age to their idealistic youth. The show, based on a play by George S. Kaufman and Moss Hart, only ran two weeks on Broadway. But again, as with “Anyone Can Whistle,” its original cast recording helped “Merrily We Roll Along” to become a favorite among musical-theater buffs.\u003c/p>\n\u003cp>“Sunday in the Park,” written with James Lapine, may be Sondheim’s most personal show. A tale of uncompromising artistic creation, it told the story of artist Georges Seurat, played by Mandy Patinkin. The painter submerges everything in his life, including his relationship with his model (Bernadette Peters), for his art.) It was most recently revived on Broadway in 2017 with Jake Gyllenhaal.)\u003c/p>\n\u003cp>Three years after “Sunday” debuted, Sondheim collaborated again with Lapine, this time on the fairy-tale musical “Into the Woods.” The show starred Peters as a glamorous witch and dealt primarily with the turbulent relationships between parents and children, using such famous fairy-tale characters as Cinderella, Little Red Riding Hood and Rapunzel. It was most recently revived in the summer of 2012 in Central Park by The Public Theater.\u003c/p>\n\u003cp>“Assassins” opened off-Broadway in 1991 and it looked at the men and women who wanted to kill presidents, from John Wilkes Booth to John Hinckley. The show received mostly negative reviews in its original incarnation, but many of those critics reversed themselves 13 years later when the show was done on Broadway and won a Tony for best musical revival.\u003c/p>\n\u003cp>“Passion” was another severe look at obsession, this time a desperate woman, played by Donna Murphy, in love with a handsome soldier. Despite winning the best-musical Tony in 1994, the show barely managed a six-month run.\u003c/p>\n\u003cp>A new version of “The Frogs,” with additional songs by Sondheim and a revised book by Nathan Lane (who also starred in the production), played Lincoln Center during the summer of 2004. The show, based on the Aristophanes comedy, originally had been done 20 years earlier in the Yale University swimming pool.\u003c/p>\n\u003cp>One of his more troubled shows was “Road Show,” which reunited Sondheim and Weidman and spent years being worked on. This tale of the Mizner brothers, whose get-rich schemes in the early part of the 20th century finally made it to the Public Theater in 2008 after going through several different titles, directors and casts.\u003c/p>\n\u003cp>He had been working on a new musical with “Venus in Fur” playwright David Ives, who called his collaborator a genius. “Not only are his musicals brilliant, but I can’t think of another theater person who has so chronicled a whole age so eloquently,” Ives said in 2013. “He is the spirit of the age in a certain way.”\u003c/p>\n\u003cp>Sondheim was born March 22, 1930, into a wealthy family, the only son of dress manufacturer Herbert Sondheim and Helen Fox Sondheim. At 10, his parents divorced and Sondheim’s mother bought a house in Doylestown, Pa., where one of their Bucks County neighbors was lyricist Oscar Hammerstein II, whose son, James, was Sondheim’s roommate at boarding school. It was Oscar Hammerstein who became the young man’s professional mentor and a good friend.\u003c/p>\n\u003cp>He had a solitary childhood, once in which involved verbal abuse from his chilly mother. He received a letter in his 40s from her telling him that she regretted giving birth to him. He continued to support her financially and to see her occasionally but didn’t attend her funeral.\u003c/p>\n\u003cp>Sondheim attended Williams College in Massachusetts, where he majored in music. After graduation, he received a two-year fellowship to study with avant-garde composer Milton Babbitt.\u003c/p>\n\u003cp>One of Sondheim’s first jobs was writing scripts for the television show “Topper,” which ran for two years (1953-1955). At the same time, Sondheim wrote his first musical, “Saturday Night,” the story of a group of young people in Brooklyn in 1920s. It was to have opened on Broadway in 1955, but its producer died just as the musical was about to go into production, and the show was scrapped. “Saturday Night” finally arrived in New York in 1997 in a small, off-Broadway production.\u003c/p>\n\u003cp>Sondheim wrote infrequently for the movies. He collaborated with actor Anthony Perkins on the script for the 1973 murder mystery “The Last of Sheila,” and besides his work on “Dick Tracy” (1990), wrote scores for such movies as Alain Resnais’ “Stavisky” (1974) and Warren Beatty’s “Reds” (1981).\u003c/p>\n\u003cp>Over the years, there have been many Broadway revivals of Sondheim shows, especially “Gypsy,” which had reincarnations starring Angela Lansbury (1974), Tyne Daly (1989) and Peters (2003). But there also were productions of “A Funny Thing,” one with Phil Silvers in 1972 and another starring Nathan Lane in 1996; “Into the Woods” with Vanessa Williams in 2002; and even of Sondheim’s less successful shows such as “Assassins” and “Pacific Overtures,” both in 2004. “Sweeney Todd” has been produced in opera houses around the world. A reimagined “West Side Story” opened on Broadway in 2020 and a scrambled “Company” opened on Broadway in 2021 with the genders of the actors switched.\u003c/p>\n\u003cp>Sondheim’s songs have been used extensively in revues, the best-known being “Side by Side by Sondheim” (1976) on Broadway and “Putting It Together,” off-Broadway with Julie Andrews in 1992 and on Broadway with Carol Burnett in 1999. The New York Philharmonic put on a star-studded “Company” in 2011 with Neil Patrick Harris and Stephen Colbert. Tunes from his musicals have lately popped up everywhere from “Marriage Story” to “The Morning Show.”\u003c/p>\n\u003cp>An HBO documentary directed by Lapine, “Six by Sondheim,” aired in 2013 and revealed that he liked to compose lying down and sometimes enjoyed a cocktail to loosen up as he wrote. He even revealed that he really only fell in love after reaching 60, first with the dramatist Peter Jones and then in his last years with Jeff Romley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In September 2010, the Henry Miller Theatre was renamed the Stephen Sondheim Theatre. “I’m deeply embarrassed. I’m thrilled, but deeply embarrassed,” he said as the sun fell over dozens of clapping admirers in Times Square. Then he revealed his perfectionist streak: “I’ve always hated my last name. It just doesn’t sing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Musician Releases ‘All Too Well (Jake’s Version)’ in Defense of Gyllenhaal",
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"content": "\u003cp>For two weeks now, Taylor Swift fans have been obsessing over her new, 10-minute version of “All Too Well,” and its \u003ca href=\"https://www.youtube.com/watch?v=tollGa3S0o8\" target=\"_blank\" rel=\"noopener noreferrer\">gorgeous accompanying short film\u003c/a> starring Sadie Sink and Dylan O’Brien.\u003c/p>\n\u003cp>Online analysis has mostly revolved around reveling in the video’s many Easter eggs (the red scarf! the 1989 car! the birthday cake!) and hating on the doo-doo head who broke Taylor’s heart back in 2010. Namely Jake Gyllenhaal, with all of his plaid shirts and fancy friends and mean words. Never mind that some of the lyrics Swift added to “All Too Well (Taylor’s Version)” are barbed, to say the least. Most notably the line: “I’ll get older but your lovers stay my age.” (The 40-year-old Gyllenhaal is currently dating a 25-year-old model. Ouch.)\u003c/p>\n\u003cp>[aside postID='arts_13883873,pop_112404,pop_111362']Gyllenhaal has now been paying for his three-month relationship with Swift for approximately nine years, ever since her \u003cem>Red\u003c/em> album originally came out. (Let’s not forget about the Jake-baiting video for “\u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">We Are Never Ever Getting Back Together\u003c/a>” either.) For that entire period, Gyllenhaal has refused to offer up his version of events, or get drawn into a conversation about his ex.\u003c/p>\n\u003cp>Which is, oddly, where San Francisco singer/songwriter \u003ca href=\"https://www.thehereafterishere.com/?fbclid=IwAR1j2aQU3ejyTqQL7u1FbBMagl8BoYX5yh6LrjdNFkwQ6exNYD7H7y8CPPg\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a> comes in…\u003c/p>\n\u003cp>Elliott just released “\u003ca href=\"https://johnelliott.bandcamp.com/track/all-too-well-jakes-version\" target=\"_blank\" rel=\"noopener noreferrer\">All Too Well (Jake’s Version)\u003c/a>”—a rendition of the Swift track that offers Gyllenhaal some points of defense. Sung from the actor’s perspective, this new-new version makes some suggestions. Maybe Taylor’s scarf just got lost for 10 years! Maybe he was having a career crisis! Maybe he wanted to be at the damn birthday party! Maybe his family pushed him into seeming more serious than he was! Maybe he’s just “a product of the patriarchy”!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All Too Well (Jake’s Version)” is also frequently hilarious. “There we are again, and we are looking so hot,” Elliott croons, “I almost ran the red ’cause I saw a parking spot.” Another highlight? “They say that all’s well that ends well, but I’m in a new hell—every time I open Spotify.”\u003c/p>\n\u003cp>You can enjoy Elliott’s version of Gyllenhaal’s version of events, in full, below.\u003c/p>\n\u003cp>\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=660247938/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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For two weeks now, Taylor Swift fans have been obsessing over her new, 10-minute version of “All Too Well,” and its \u003ca href=\"https://www.youtube.com/watch?v=tollGa3S0o8\" target=\"_blank\" rel=\"noopener noreferrer\">gorgeous accompanying short film\u003c/a> starring Sadie Sink and Dylan O’Brien.\u003c/p>\n\u003cp>Online analysis has mostly revolved around reveling in the video’s many Easter eggs (the red scarf! the 1989 car! the birthday cake!) and hating on the doo-doo head who broke Taylor’s heart back in 2010. Namely Jake Gyllenhaal, with all of his plaid shirts and fancy friends and mean words. Never mind that some of the lyrics Swift added to “All Too Well (Taylor’s Version)” are barbed, to say the least. Most notably the line: “I’ll get older but your lovers stay my age.” (The 40-year-old Gyllenhaal is currently dating a 25-year-old model. Ouch.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gyllenhaal has now been paying for his three-month relationship with Swift for approximately nine years, ever since her \u003cem>Red\u003c/em> album originally came out. (Let’s not forget about the Jake-baiting video for “\u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">We Are Never Ever Getting Back Together\u003c/a>” either.) For that entire period, Gyllenhaal has refused to offer up his version of events, or get drawn into a conversation about his ex.\u003c/p>\n\u003cp>Which is, oddly, where San Francisco singer/songwriter \u003ca href=\"https://www.thehereafterishere.com/?fbclid=IwAR1j2aQU3ejyTqQL7u1FbBMagl8BoYX5yh6LrjdNFkwQ6exNYD7H7y8CPPg\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a> comes in…\u003c/p>\n\u003cp>Elliott just released “\u003ca href=\"https://johnelliott.bandcamp.com/track/all-too-well-jakes-version\" target=\"_blank\" rel=\"noopener noreferrer\">All Too Well (Jake’s Version)\u003c/a>”—a rendition of the Swift track that offers Gyllenhaal some points of defense. Sung from the actor’s perspective, this new-new version makes some suggestions. Maybe Taylor’s scarf just got lost for 10 years! Maybe he was having a career crisis! Maybe he wanted to be at the damn birthday party! Maybe his family pushed him into seeming more serious than he was! Maybe he’s just “a product of the patriarchy”!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All Too Well (Jake’s Version)” is also frequently hilarious. “There we are again, and we are looking so hot,” Elliott croons, “I almost ran the red ’cause I saw a parking spot.” Another highlight? “They say that all’s well that ends well, but I’m in a new hell—every time I open Spotify.”\u003c/p>\n\u003cp>You can enjoy Elliott’s version of Gyllenhaal’s version of events, in full, below.\u003c/p>\n\u003cp>\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=660247938/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\n\u003c/div>\u003c/p>",
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"title": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods",
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"content": "\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAFAfhod9TU\u003c/p>\n\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CHqrh1Dl4oA\u003c/p>\n\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\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/PAFAfhod9TU'\n title='//www.youtube.com/embed/PAFAfhod9TU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\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/CHqrh1Dl4oA'\n title='//www.youtube.com/embed/CHqrh1Dl4oA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New 'New York Times' Doc Takes a Closer Look at Janet Jackson's Super Bowl Scandal",
"headTitle": "New ‘New York Times’ Doc Takes a Closer Look at Janet Jackson’s Super Bowl Scandal | KQED",
"content": "\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OddhPlcQrmo\u003c/p>\n\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>[aside postid='pop_20175']According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>[aside postid='arts_13892744']As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>[aside postid='pop_108058']In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\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/OddhPlcQrmo'\n title='//www.youtube.com/embed/OddhPlcQrmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sean Hayes' New Album 'Be Like Water' Offers Pathway from Worry",
"headTitle": "Sean Hayes’ New Album ‘Be Like Water’ Offers Pathway from Worry | KQED",
"content": "\u003cfigure id=\"attachment_13906356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg\" alt=\"A man with short grey hair and beard plays a vintage acoustic guitar in a wood-paneled room as sun shines in from the left.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN.jpg 1908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area singer-songwriter Sean Hayes has released a new album, \u003cem>Be Like Water\u003c/em>, his first in five years. And while it comes at a time when people are feeling their way out of the isolation of the pandemic, our psyches battered and bruised by so much loss and grief, Hayes says, “This was not a pandemic record.”\u003c/p>\n\u003cp>And it’s not, by virtue of the fact that the songs on \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Be Like Water\u003c/em>\u003c/a> were all written years before the coronavirus hit. When life and live music shut down in March 2020, Hayes tucked all those songs away in a drawer.\u003c/p>\n\u003cp>“But also during the pandemic, I did feel an incredible urge to clean out all the leftover things,” he says. “Before we got out of it, I wanted to have a really clean slate.”\u003c/p>\n\u003cp>So, last November, he got a band together in a professional studio and re-recorded all the songs.\u003c/p>\n\u003cp>Released now, \u003cem>Be Like Water\u003c/em> is inevitably a pandemic record. It carries so many messages that many of us need in this moment: in almost every song, the lyrics journey from suffering to acceptance, from letting pain fester to letting it go, from worrying over the past or future to finding solace in the present. Musically, some songs allow for contemplating sadness—pandemic-inspired or otherwise—while others compel movement and release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hayes spoke to KQED about his sources of inspiration and healing.\u003c/p>\n\u003cp>\u003cem>The following interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6kdWQRORlQk\u003c/p>\n\u003cp>\u003cstrong>You were working on the songs on this record over the course of a few years. What was going on in your life at the time?\u003c/strong>\u003c/p>\n\u003cp>There’s a song in there called “Tomorrow Tonight”: “I have to beg, steal and borrow.” And that song is all about the anxiety of Bay Area real estate. So we were renting, we have two kids and then we had to move when we first got to Petaluma. And it starts to get really stressful. So, what’s the hook: “Let’s forget about tomorrow, tonight.”\u003c/p>\n\u003cp>I have a propensity to get ahead of myself, and catastrophize, is the word I learned recently — think about all the worst possible outcomes. So a lot of it’s about getting myself back to the moment and not getting really far out.\u003c/p>\n\u003cp>The record’s called \u003cem>Be Like Water\u003c/em>, and there’s a song called “Water.” I did the I Ching way back in the day with some friends — it’s an old Chinese book of divination, and my role was to be like water, to follow the path of least resistance. And that stuck around for years and it would try to come out in a song.\u003c/p>\n\u003cp>[aside postID='arts_29105']“Oh, the book said, it said, ‘Be like water, be like water,’” and that’s as far as it would ever go. Then I started playing that James Brown tune, “Sex Machine” — “Get up! Get on up!” So finally, I got “You got to get up, get up to get down,” which is water as well, because water is constantly recycling. It’s pulled up and then it comes down, pulls up and comes down. It’s just reminding yourself not to hold on too tightly — to let people help you, to let the world help you. So I write songs to kind of remember little spiritual, philosophical ideas. I like these little mantra trances.\u003c/p>\n\u003cp>\u003cstrong>What about the song “Invisible Weight”?\u003c/strong>\u003c/p>\n\u003cp>The best way to describe that one is: something’s bothering you, like an episode from 15 years ago. “Did that go down that way? Do I need to feel bad about that?” And then eventually, “Do I need to call that person?”\u003c/p>\n\u003cp>That song’s just about making that phone call and dealing with that invisible weight that you might be carrying around. You’ve got to deal with those moments because they keep coming back. That’s part of creation for me, carving out the stuff that’s festering and needs to move out. That’s a great thing about songwriting is it enables you to do some of that work.\u003c/p>\n\u003cfigure id=\"attachment_13906355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg\" alt=\"A man with a vintage acoustic guitar gestures on the sofa as other vintage guitars hang in the background.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So with the songs on this record getting released, has that cleared out your drawer? Given you a clean slate?\u003c/strong>\u003c/p>\n\u003cp>I’m almost there. The other thing I’m doing right now is some covers. I’m hoping to put out a bibliography of the record that I just made, which is all the songs I’ve been playing for the last five or six years that have influenced these songs. It’s really cool to see the influences and to pay more attention to that as I’ve gotten older, to see where these things are actually stemming from.\u003c/p>\n\u003cp>There are songs from Hank Williams, from different blues artists where I can point exactly to how it influenced the songs on \u003cem>Be Like Water\u003c/em>. Artists like Little Walter, the blues harmonica player from the ’50s, and Junior Kimbrough, he’s a blues artist from Mississippi. I really love raw recordings, and there’s one of him playing “Meet Me in the City,” it sounds like it’s on a little cassette tape. I played that song so many times that it influenced the guitar playing on “Faded.” That’s a fun song for me. I enjoy that one.\u003c/p>\n\u003cp>\u003cstrong>That one is the hardest one for me.\u003c/strong>\u003c/p>\n\u003cp>Yeah. There’s a lot of me being unsatisfied with where I’m at in that song, and reflecting on yourself in negative ways and struggling. I just like where it lands at the end: “Something about you, and me,” the way it ends in this little love song, even though the whole thing is not.\u003c/p>\n\u003cp>\u003cstrong>Do you identify more with being a musician or a poet?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting, I don’t allow myself to be thought of as a poet, but I would probably identify with it much more in a lot of ways, because the words mean a lot to me. My music is very simple and very folky, and usually the lyric is the thing I’m struggling with. I don’t necessarily think of myself as a poet, but I probably think of myself as words first, music second.\u003c/p>\n\u003cfigure id=\"attachment_13906358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg\" alt=\"A copy of the I Ching sits on a sofa next to an acoustic guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The title track of Sean Hayes’ new album, ‘Be Like Water,’ was inspired by the I Ching, the Chinese book of divination, and the James Brown song “Sex Machine.” \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why are you not more famous?\u003c/strong>\u003c/p>\n\u003cp>There’s a million answers to that question.\u003c/p>\n\u003cp>From an industry standpoint, it’s just me putting out the music. It’s very hand-to-mouth, so if you find out about this record, it’s because you know somebody who liked it and passed it on to you. I’ve had moments where the stars popped out a little bit, but there’s never been a machine behind it in any way, shape or form. I just get up and work on the music.\u003c/p>\n\u003cp>I think it’s harder to get known than people realize. We kind of have this romantic thing of, if you like the music, then everybody must know about it, right? No, not at all. There’s so many people in the Bay Area who have no idea I exist at all. I meet them every day.\u003c/p>\n\u003cp>\u003cstrong>Is there part of you that hasn’t quite wanted it?\u003c/strong>\u003c/p>\n\u003cp>There may be some psychological stuff going on there. I do have a weird tendency, if I meet somebody who can give me something, I’ll run the opposite direction. I was really bad at that in my twenties and thirties. If you were a fancy booking agent or a cool manager, I would just think ‘I don’t want to talk to that person,’ because I don’t want to want or need anything. So that’s my problem. I’ve just never been a part of that big industry, my brain just doesn’t work that way. I’m a folk musician, really grassrootsy. I believe I am right where I should be, and people find the music when they are supposed to find it.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Be Like Water’ is \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. Sean Hayes performs \u003ca href=\"https://fb.me/e/1H1BYJvWR\" target=\"_blank\" rel=\"noopener noreferrer\">a free virtual release concert\u003c/a> on Friday, Nov. 19, at 6pm; he also performs Friday, Dec. 3, \u003ca href=\"https://www.eventbrite.com/e/sean-hayes-w-special-guest-jaleh-tickets-195560656187\" target=\"_blank\" rel=\"noopener noreferrer\">at The Chapel in San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg\" alt=\"A man with short grey hair and beard plays a vintage acoustic guitar in a wood-paneled room as sun shines in from the left.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1020x771.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN-1536x1161.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-MAIN.jpg 1908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area singer-songwriter Sean Hayes has released a new album, \u003cem>Be Like Water\u003c/em>, his first in five years. And while it comes at a time when people are feeling their way out of the isolation of the pandemic, our psyches battered and bruised by so much loss and grief, Hayes says, “This was not a pandemic record.”\u003c/p>\n\u003cp>And it’s not, by virtue of the fact that the songs on \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Be Like Water\u003c/em>\u003c/a> were all written years before the coronavirus hit. When life and live music shut down in March 2020, Hayes tucked all those songs away in a drawer.\u003c/p>\n\u003cp>“But also during the pandemic, I did feel an incredible urge to clean out all the leftover things,” he says. “Before we got out of it, I wanted to have a really clean slate.”\u003c/p>\n\u003cp>So, last November, he got a band together in a professional studio and re-recorded all the songs.\u003c/p>\n\u003cp>Released now, \u003cem>Be Like Water\u003c/em> is inevitably a pandemic record. It carries so many messages that many of us need in this moment: in almost every song, the lyrics journey from suffering to acceptance, from letting pain fester to letting it go, from worrying over the past or future to finding solace in the present. Musically, some songs allow for contemplating sadness—pandemic-inspired or otherwise—while others compel movement and release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hayes spoke to KQED about his sources of inspiration and healing.\u003c/p>\n\u003cp>\u003cem>The following interview has been edited for length and clarity.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6kdWQRORlQk'\n title='//www.youtube.com/embed/6kdWQRORlQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You were working on the songs on this record over the course of a few years. What was going on in your life at the time?\u003c/strong>\u003c/p>\n\u003cp>There’s a song in there called “Tomorrow Tonight”: “I have to beg, steal and borrow.” And that song is all about the anxiety of Bay Area real estate. So we were renting, we have two kids and then we had to move when we first got to Petaluma. And it starts to get really stressful. So, what’s the hook: “Let’s forget about tomorrow, tonight.”\u003c/p>\n\u003cp>I have a propensity to get ahead of myself, and catastrophize, is the word I learned recently — think about all the worst possible outcomes. So a lot of it’s about getting myself back to the moment and not getting really far out.\u003c/p>\n\u003cp>The record’s called \u003cem>Be Like Water\u003c/em>, and there’s a song called “Water.” I did the I Ching way back in the day with some friends — it’s an old Chinese book of divination, and my role was to be like water, to follow the path of least resistance. And that stuck around for years and it would try to come out in a song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Oh, the book said, it said, ‘Be like water, be like water,’” and that’s as far as it would ever go. Then I started playing that James Brown tune, “Sex Machine” — “Get up! Get on up!” So finally, I got “You got to get up, get up to get down,” which is water as well, because water is constantly recycling. It’s pulled up and then it comes down, pulls up and comes down. It’s just reminding yourself not to hold on too tightly — to let people help you, to let the world help you. So I write songs to kind of remember little spiritual, philosophical ideas. I like these little mantra trances.\u003c/p>\n\u003cp>\u003cstrong>What about the song “Invisible Weight”?\u003c/strong>\u003c/p>\n\u003cp>The best way to describe that one is: something’s bothering you, like an episode from 15 years ago. “Did that go down that way? Do I need to feel bad about that?” And then eventually, “Do I need to call that person?”\u003c/p>\n\u003cp>That song’s just about making that phone call and dealing with that invisible weight that you might be carrying around. You’ve got to deal with those moments because they keep coming back. That’s part of creation for me, carving out the stuff that’s festering and needs to move out. That’s a great thing about songwriting is it enables you to do some of that work.\u003c/p>\n\u003cfigure id=\"attachment_13906355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg\" alt=\"A man with a vintage acoustic guitar gestures on the sofa as other vintage guitars hang in the background.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point-1536x1257.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sean-Hayes-point.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petaluma-based blues musician Sean Hayes sings a song from his new album, ‘Be Like Water.’ \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So with the songs on this record getting released, has that cleared out your drawer? Given you a clean slate?\u003c/strong>\u003c/p>\n\u003cp>I’m almost there. The other thing I’m doing right now is some covers. I’m hoping to put out a bibliography of the record that I just made, which is all the songs I’ve been playing for the last five or six years that have influenced these songs. It’s really cool to see the influences and to pay more attention to that as I’ve gotten older, to see where these things are actually stemming from.\u003c/p>\n\u003cp>There are songs from Hank Williams, from different blues artists where I can point exactly to how it influenced the songs on \u003cem>Be Like Water\u003c/em>. Artists like Little Walter, the blues harmonica player from the ’50s, and Junior Kimbrough, he’s a blues artist from Mississippi. I really love raw recordings, and there’s one of him playing “Meet Me in the City,” it sounds like it’s on a little cassette tape. I played that song so many times that it influenced the guitar playing on “Faded.” That’s a fun song for me. I enjoy that one.\u003c/p>\n\u003cp>\u003cstrong>That one is the hardest one for me.\u003c/strong>\u003c/p>\n\u003cp>Yeah. There’s a lot of me being unsatisfied with where I’m at in that song, and reflecting on yourself in negative ways and struggling. I just like where it lands at the end: “Something about you, and me,” the way it ends in this little love song, even though the whole thing is not.\u003c/p>\n\u003cp>\u003cstrong>Do you identify more with being a musician or a poet?\u003c/strong>\u003c/p>\n\u003cp>It’s interesting, I don’t allow myself to be thought of as a poet, but I would probably identify with it much more in a lot of ways, because the words mean a lot to me. My music is very simple and very folky, and usually the lyric is the thing I’m struggling with. I don’t necessarily think of myself as a poet, but I probably think of myself as words first, music second.\u003c/p>\n\u003cfigure id=\"attachment_13906358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg\" alt=\"A copy of the I Ching sits on a sofa next to an acoustic guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/I-Ching-and-SH-guitar-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The title track of Sean Hayes’ new album, ‘Be Like Water,’ was inspired by the I Ching, the Chinese book of divination, and the James Brown song “Sex Machine.” \u003ccite>(April Dembosky/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why are you not more famous?\u003c/strong>\u003c/p>\n\u003cp>There’s a million answers to that question.\u003c/p>\n\u003cp>From an industry standpoint, it’s just me putting out the music. It’s very hand-to-mouth, so if you find out about this record, it’s because you know somebody who liked it and passed it on to you. I’ve had moments where the stars popped out a little bit, but there’s never been a machine behind it in any way, shape or form. I just get up and work on the music.\u003c/p>\n\u003cp>I think it’s harder to get known than people realize. We kind of have this romantic thing of, if you like the music, then everybody must know about it, right? No, not at all. There’s so many people in the Bay Area who have no idea I exist at all. I meet them every day.\u003c/p>\n\u003cp>\u003cstrong>Is there part of you that hasn’t quite wanted it?\u003c/strong>\u003c/p>\n\u003cp>There may be some psychological stuff going on there. I do have a weird tendency, if I meet somebody who can give me something, I’ll run the opposite direction. I was really bad at that in my twenties and thirties. If you were a fancy booking agent or a cool manager, I would just think ‘I don’t want to talk to that person,’ because I don’t want to want or need anything. So that’s my problem. I’ve just never been a part of that big industry, my brain just doesn’t work that way. I’m a folk musician, really grassrootsy. I believe I am right where I should be, and people find the music when they are supposed to find it.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Be Like Water’ is \u003ca href=\"https://www.seanhayesmusic.com/store\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. Sean Hayes performs \u003ca href=\"https://fb.me/e/1H1BYJvWR\" target=\"_blank\" rel=\"noopener noreferrer\">a free virtual release concert\u003c/a> on Friday, Nov. 19, at 6pm; he also performs Friday, Dec. 3, \u003ca href=\"https://www.eventbrite.com/e/sean-hayes-w-special-guest-jaleh-tickets-195560656187\" target=\"_blank\" rel=\"noopener noreferrer\">at The Chapel in San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Go-Go’s Photo Exhibit at Saint Joseph’s is a Missed Opportunity",
"headTitle": "The Go-Go’s Photo Exhibit at Saint Joseph’s is a Missed Opportunity | KQED",
"content": "\u003cp>The Go-Go’s, in many ways, were the rock band equivalent of that kid in your high school who got straight As while also regularly ditching class and smoking under the bleachers. It’s easy to forget how exceptional they were because they always maintained a casual air of being scrappy and relatable.\u003c/p>\n\u003cp>In reality, The Go-Go’s are, to this day, the only all-female band to reach the top of the Billboard album chart while playing their own instruments and writing their own songs. Vocalist Belinda Carlisle, bassist Kathy Valentine, guitarists Charlotte Caffey and Jane Wiedlin, and drummer Gina Schock did that in 1982 with their first album, \u003cem>Beauty and the Beat\u003c/em>. It stayed at number one for six weeks, went double platinum in the U.S., and is still considered one of the most successful debuts of all time. In October, \u003ca href=\"https://www.rockhall.com/class-2021-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">the band was finally inducted into the Rock and Roll Hall of Fame\u003c/a>, and Schock marked the event by releasing a book of her photos documenting the band’s history.\u003c/p>\n\u003cp>[aside postid='arts_13902953']If you’ve seen that book, \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Made In Hollywood: All Access with the Go-Go’s\u003c/em>\u003c/a>, you already know that Schock’s photos are amazing. They’re funny and gritty and honest. They’re images of the band at their most beautiful and their most disheveled. These are shots of The Go-Go’s clowning around, doing blow, goofing off, and scowling from the back of the van. And together, they provide a perfect snapshot of five women boldly going where few women had gone before.\u003c/p>\n\u003cp>As Valentine notes in the foreword: “It’s one thing to casually take pictures; it’s another thing altogether when the photographer is one of you … It’s the photos, from behind the scenes, that tell the most evocative accounts.”\u003c/p>\n\u003cp>To celebrate the book and the band, \u003ca href=\"https://saintjosephsartssociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Saint Joseph’s Art Society\u003c/a>—a converted Catholic church refurbished, luxuriantly, by designer Ken Fulk—is exhibiting \u003cem>Gina Schock: Made in Hollywood\u003c/em>. But the way Schock’s work is presented in the space only serves to minimize it, the way that so many have minimized the work of The Go-Go’s before.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bulk of Schock’s photos are contained, in their original (very small) sizes, under ten 24-by-24-inch glass panels arranged on a large upstairs dining table. The horizontal presentation would be reminiscent of an end-of-year middle school art show if only the lighting wasn’t so bad. Picture the kind of dimness that your mother tells you not to read in lest you strain your eyes, combined with aggressive spotlights that reflect off the glass and obscure the images further. Trying to view Schock’s photography in this way is an exercise in pure frustration. (One can only imagine how much worse it is for wheelchair users who aren’t able to stand and bend double over the table.)\u003c/p>\n\u003cfigure id=\"attachment_13906152\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png\" alt=\"People look down on a table where the photographs are displayed under glass.\" width=\"1598\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1536x946.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">The dimly lit dining table of doom. \u003ccite>(Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriatingly, there are tantalizing glimpses of what this exhibit could have been. Like the four Polaroids blown up, framed and hung on the wall at a scale and angle where you can actually see what’s happening in them. For a moment, I thought these images—of hot tub tomfoolery, and of The Go-Go’s hanging with Joan Jett, Charlie Watts and Bill Wyman from the Rolling Stones—were leading to a space where there would be more like them. Instead, they led me directly into the bathroom. It’s clear that putting this exhibit directly next to the john was not a winking, knowing nod to first-wave punk sensibilities. It feels more like no one could be bothered to make space for it anywhere else in this giant building.\u003c/p>\n\u003cfigure id=\"attachment_13906161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png\" alt=\"Two framed photos hang on a pink wall. One shows Joan Jett and Gina Schock in the '80s, smiling with their arms around each other. The other shows The Go-Go's horsing around in a hot tub.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Schock’s Polaroids blown up to a scale where people can actually see and enjoy them. Why didn’t someone just run to Kinko’s and make more of these? \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Made in Hollywood\u003c/em>’s opening night—Saturday, Nov. 13—Gina Schock was present to sign copies of her book and conduct an hour-long interview with \u003cem>San Francisco Chronicle\u003c/em> columnist Tony Bravo. Schock enthusiastically talked about the book, her background in Baltimore, her life in bands, young Jodie Foster’s honorary status as “the sixth Go-Go,” Jane Fonda’s secret smoking habits, and being only the \u003ci>second\u003c/i> female drummer inducted into the Rock and Roll Hall of Fame. (“Now that we can vote for everything,” Schock noted, “we wanna get the B-52’s in, we wanna get Cher, we wanna get Suzi Quatro. We’ve got a list of the girls that we want to get in there who should already be in there. Hopefully we can help change things.”)\u003c/p>\n\u003cp>[aside postid='arts_13906078']Schock radiates an infectious high energy and her on-stage charm made a visit to the opening worthwhile. But without her presence, the show falls flat in a way that shouldn’t be possible with a photo collection this fearless. (Only on my third go around the dining table did I notice Belinda Carlisle labeled as “Bighead” on one Polaroid.) If you want to see Schock’s photos in a context that actually does them justice, buying her new book or watching Showtime’s warts-and-all documentary \u003ca href=\"https://www.youtube.com/watch?v=GsiRfL11I08\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Go-Go’s\u003c/em>\u003c/a>, are both much better options than a visit to Saint Joseph’s. Schock’s work and The Go-Go’s legacy deserve more fanfare—and much more wall space—than this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Made In Hollywood: All Access with the Go-Go’s’ is out now through \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Dog & Leventhal\u003c/a>. Photos and posters from the book are on view at Saint Joseph’s Art Society (1401 Howard St., San Francisco) through Dec. 23.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Drummer Gina Schock’s photos are brilliant, but a new half-hearted exhibition fails to honor the fearless band.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Go-Go’s, in many ways, were the rock band equivalent of that kid in your high school who got straight As while also regularly ditching class and smoking under the bleachers. It’s easy to forget how exceptional they were because they always maintained a casual air of being scrappy and relatable.\u003c/p>\n\u003cp>In reality, The Go-Go’s are, to this day, the only all-female band to reach the top of the Billboard album chart while playing their own instruments and writing their own songs. Vocalist Belinda Carlisle, bassist Kathy Valentine, guitarists Charlotte Caffey and Jane Wiedlin, and drummer Gina Schock did that in 1982 with their first album, \u003cem>Beauty and the Beat\u003c/em>. It stayed at number one for six weeks, went double platinum in the U.S., and is still considered one of the most successful debuts of all time. In October, \u003ca href=\"https://www.rockhall.com/class-2021-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">the band was finally inducted into the Rock and Roll Hall of Fame\u003c/a>, and Schock marked the event by releasing a book of her photos documenting the band’s history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you’ve seen that book, \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Made In Hollywood: All Access with the Go-Go’s\u003c/em>\u003c/a>, you already know that Schock’s photos are amazing. They’re funny and gritty and honest. They’re images of the band at their most beautiful and their most disheveled. These are shots of The Go-Go’s clowning around, doing blow, goofing off, and scowling from the back of the van. And together, they provide a perfect snapshot of five women boldly going where few women had gone before.\u003c/p>\n\u003cp>As Valentine notes in the foreword: “It’s one thing to casually take pictures; it’s another thing altogether when the photographer is one of you … It’s the photos, from behind the scenes, that tell the most evocative accounts.”\u003c/p>\n\u003cp>To celebrate the book and the band, \u003ca href=\"https://saintjosephsartssociety.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Saint Joseph’s Art Society\u003c/a>—a converted Catholic church refurbished, luxuriantly, by designer Ken Fulk—is exhibiting \u003cem>Gina Schock: Made in Hollywood\u003c/em>. But the way Schock’s work is presented in the space only serves to minimize it, the way that so many have minimized the work of The Go-Go’s before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bulk of Schock’s photos are contained, in their original (very small) sizes, under ten 24-by-24-inch glass panels arranged on a large upstairs dining table. The horizontal presentation would be reminiscent of an end-of-year middle school art show if only the lighting wasn’t so bad. Picture the kind of dimness that your mother tells you not to read in lest you strain your eyes, combined with aggressive spotlights that reflect off the glass and obscure the images further. Trying to view Schock’s photography in this way is an exercise in pure frustration. (One can only imagine how much worse it is for wheelchair users who aren’t able to stand and bend double over the table.)\u003c/p>\n\u003cfigure id=\"attachment_13906152\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13906152\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png\" alt=\"People look down on a table where the photographs are displayed under glass.\" width=\"1598\" height=\"984\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1020x628.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-768x473.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-10.24.10-AM-1536x946.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">The dimly lit dining table of doom. \u003ccite>(Johnny Dismal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Infuriatingly, there are tantalizing glimpses of what this exhibit could have been. Like the four Polaroids blown up, framed and hung on the wall at a scale and angle where you can actually see what’s happening in them. For a moment, I thought these images—of hot tub tomfoolery, and of The Go-Go’s hanging with Joan Jett, Charlie Watts and Bill Wyman from the Rolling Stones—were leading to a space where there would be more like them. Instead, they led me directly into the bathroom. It’s clear that putting this exhibit directly next to the john was not a winking, knowing nod to first-wave punk sensibilities. It feels more like no one could be bothered to make space for it anywhere else in this giant building.\u003c/p>\n\u003cfigure id=\"attachment_13906161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png\" alt=\"Two framed photos hang on a pink wall. One shows Joan Jett and Gina Schock in the '80s, smiling with their arms around each other. The other shows The Go-Go's horsing around in a hot tub.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM-1536x955.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-15-at-12.58.49-PM.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gina Schock’s Polaroids blown up to a scale where people can actually see and enjoy them. Why didn’t someone just run to Kinko’s and make more of these? \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On \u003cem>Made in Hollywood\u003c/em>’s opening night—Saturday, Nov. 13—Gina Schock was present to sign copies of her book and conduct an hour-long interview with \u003cem>San Francisco Chronicle\u003c/em> columnist Tony Bravo. Schock enthusiastically talked about the book, her background in Baltimore, her life in bands, young Jodie Foster’s honorary status as “the sixth Go-Go,” Jane Fonda’s secret smoking habits, and being only the \u003ci>second\u003c/i> female drummer inducted into the Rock and Roll Hall of Fame. (“Now that we can vote for everything,” Schock noted, “we wanna get the B-52’s in, we wanna get Cher, we wanna get Suzi Quatro. We’ve got a list of the girls that we want to get in there who should already be in there. Hopefully we can help change things.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schock radiates an infectious high energy and her on-stage charm made a visit to the opening worthwhile. But without her presence, the show falls flat in a way that shouldn’t be possible with a photo collection this fearless. (Only on my third go around the dining table did I notice Belinda Carlisle labeled as “Bighead” on one Polaroid.) If you want to see Schock’s photos in a context that actually does them justice, buying her new book or watching Showtime’s warts-and-all documentary \u003ca href=\"https://www.youtube.com/watch?v=GsiRfL11I08\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Go-Go’s\u003c/em>\u003c/a>, are both much better options than a visit to Saint Joseph’s. Schock’s work and The Go-Go’s legacy deserve more fanfare—and much more wall space—than this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Made In Hollywood: All Access with the Go-Go’s’ is out now through \u003ca href=\"https://www.blackdogandleventhal.com/titles/gina-schock/made-in-hollywood/9780762474974/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Dog & Leventhal\u003c/a>. Photos and posters from the book are on view at Saint Joseph’s Art Society (1401 Howard St., San Francisco) through Dec. 23.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>[aside postid='arts_13904188']Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CWtvC5a5TB0\u003c/p>\n\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>[aside postid='arts_13892800']When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Only in hindsight,” Garbage vocalist Shirley Manson says in the film, “am I aware of what Alanis did for every woman that’s come up behind her. When you’re battering down 13 million doors, that’s helping everyone.”\u003c/p>\n\n",
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"excerpt": "Morissette disavowed the HBO doc as 'salacious.' It's really a snapshot of what happened to women in the '90s music industry. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in September, Alanis Morissette refused to attend the premiere of \u003cem>Jagged\u003c/em>, HBO’s new documentary about her\u003cem>.\u003c/em> “i ultimately won’t be supporting someone else’s reductive take on a story much too nuanced for them to ever grasp or tell,” the singer wrote in a statement, adding, “this was not the story i agreed to tell.” She said that the interview she did for \u003cem>Jagged\u003c/em> took place “during a very vulnerable time (while in the midst of my third postpartum depression during lockdown).” The singer even claimed that director Alison Klayman had a “salacious agenda” and “did not warrant being trusted.”\u003c/p>\n\u003cp>Morissette’s ire suggested \u003cem>Jagged\u003c/em> would be supremely revealing. It suggested that fans would finally get answers to the questions they’ve pondered ever since \u003cem>Jagged Little Pill\u003c/em> first exploded in 1995. Who were the music industry men who exploited her in her teens? And \u003ca href=\"https://www.businessinsider.com/alanis-morissettes-you-oughta-know-about-dave-coulier-2013-9\" target=\"_blank\" rel=\"noopener noreferrer\">was the older man from “You Oughta Know” really Dave Coulier\u003c/a> (Uncle Joey from \u003cem>Full House)\u003c/em>? Some viewers might be disappointed, then, to find out that the film stays as vague about those details as Morissette herself always has been. Salacious, \u003cem>Jagged\u003c/em> most certainly is not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Instead, \u003cem>Jagged\u003c/em> is a dizzying snapshot of the period in which Morissette was suddenly transformed from former Canadian pop singer to a global rock superstar via the overwhelming success of \u003cem>Jagged Little Pill\u003c/em>. We hear about her hyper-productive, organic writing sessions with Glen Ballard. We see her getting signed to Madonna’s label, Maverick, after a slew of major labels turned her down. We see her putting together her first band, which included Foo Fighters drummer Taylor Hawkins and a bass player she didn’t actually mean to call back. We see the adoration that audiences poured onto her at every live show of a grueling 18-month world tour. And we see her musing about the freedom that comes with being acknowledged as a good songwriter—something she was denied in her teens while signed to MCA in Canada.\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/CWtvC5a5TB0'\n title='//www.youtube.com/embed/CWtvC5a5TB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film draws many lines between the treatment of Morissette as a teen pop star—starvation diets, long working hours and sexual abuse included—and the rage and catharsis she channeled on \u003cem>Jagged Little Pill\u003c/em>. One of the things that makes \u003cem>Jagged\u003c/em> most compelling as a film is an undercurrent that runs throughout about exploitative men in the music industry and where that leaves female artists. There’s a sense of dread that casts a shadow, if not on Morissette’s stage, then certainly in the wings of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morissette’s first single, “Fate Stay With Me,” came out when she was 12. And from that point on she was trying to make it as a singer-songwriter. When she hit 15, she explains in \u003cem>Jagged\u003c/em>, the industry predators stopped tip-toeing around her and “all bets were off.”\u003c/p>\n\u003cp>“I just thought it was my fault because almost every single person that I would work with, there would be some turning point,” Morissette says, “and I would just wait for it. Like ‘Okay, this won’t happen in the first week with this one, but it’ll happen.’ And then sure enough it would. And then it would either end the relationship or just be some big secret that we’d keep forever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Morissette says she stayed quiet about sexual assaults that took place in her teens as a means to protect her family, her future relationships and her own personal safety. Towards the end of the film, she admits it took years of therapy to even admit that she’d been abused. “I would say ‘I was consenting,'” she explains, “and then I’d be reminded, ‘Hey, you were 15. You’re not consenting at 15.’ And now it’s like, ‘Oh, they were all pedophiles. They were all statutory rape.'”\u003c/p>\n\u003cp>The only time Morissette’s habitually calm demeanor breaks at all during \u003cem>Jagged\u003c/em> is when she talks about how survivors are silenced. “People are like ‘Why did that woman wait 30 years?’ And it’s like, ‘Fuck off. They didn’t wait 30 years. No one was listening, or their livelihood was threatened, or their family was threatened.’ So yeah. The whole ‘Why do women wait?’ thing? Women don’t wait. Our culture doesn’t listen.”\u003c/p>\n\u003cp>\u003cem>Jagged\u003c/em> isn’t shy about looking at that culture either. The film is careful to show how fixated the male-dominated music press was on Morissette’s perceived anger at the time, despite the abundant optimism that was also present on \u003cem>Jagged Little Pill\u003c/em>. “I wasn’t writing to punish,” Morissette points out, “I was writing to express and get it out of my body because I didn’t want to get sick.”\u003c/p>\n\u003cp>Her former band is also forced to admit that they engaged in exploitative practices during Morissette’s world tour in 1995 and ’96. They describe handing out stacks of passes to female fans and inviting them backstage to an area that Morissette herself didn’t know about for most of the tour. “The most debaucherous tour I’ve ever done in my life,” Taylor Hawkins sheepishly admits, “was with Alanis Morissette.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When asked about her band’s behavior in \u003cem>Jagged\u003c/em>, Morissette calls it “a betrayal.” But she admits she didn’t fire them because her experience in the industry told her that a new set of musicians would behave in exactly the same way, but “wouldn’t sound as great.” When asked if she could’ve hired an all-female band, she says at the time there was so little space for female artists in rock that she worried women in her band—”women who wanted to be in my seat”—might try to steal focus.\u003c/p>\n\u003cp>One of the things that most strikes you, watching old footage in \u003cem>Jagged \u003c/em>now, is how incredibly young Morissette was at the time of her superstardom. She had turned 21 less than two weeks after \u003cem>Jagged Little Pill\u003c/em> came out—a point that was under-acknowledged at the time, probably because the maturity of her songs and life experiences belied her youth.\u003c/p>\n\u003cp>In the end, it’s difficult to fathom what in \u003cem>Jagged\u003c/em> upset Morissette enough to boycott its premiere at the Toronto Film Festival. The documentary portrays her with awe and reverence: as a great vocalist, a gifted songwriter, a survivor and a voice for others. It also carefully positions her in the music industry during a period when it was an all-powerful machine that thought nothing of chewing young women up and spitting them out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rapper Travis Scott was the most recognizable figure associated with Astroworld, the Houston music festival that \u003ca href=\"https://www.npr.org/2021/11/08/1053425095/astroworld-festival-travis-scott-concert\" target=\"_blank\" rel=\"noopener noreferrer\">ended in tragedy Friday\u003c/a> evening when eight people died and hundreds more were injured. Also among the event organizers, however, was the conglomerate Live Nation, the world’s largest live-events company—and one that has already been linked to hundreds of deaths and injuries in the past 15 years.\u003c/p>\n\u003cp>[aside postid='arts_13905983']Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>[aside postid='pop_84656']The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>[aside postid='arts_13905536']At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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