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"title": "EXIT Theatre Cancels Show After US Immigration Blocks Canadian Performer",
"headTitle": "EXIT Theatre Cancels Show After US Immigration Blocks Canadian Performer | KQED",
"content": "\u003cp>\u003ca href=\"http://www.theexit.org/calendar-2017/\" target=\"_blank\" rel=\"noopener\">EXIT Theatre\u003c/a> founder \u003cspan style=\"font-weight: 400\">Christina Augello spent a year’s work and nearly $3,000 to bring Paul David Power’s play \u003ca href=\"https://www.powerproductions.ca/crippled.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Crippled\u003c/em>\u003c/a> to San Francisco. But just weeks before the \u003ca href=\"http://www.theexit.org/crippled/\" target=\"_blank\" rel=\"noopener\">show\u003c/a> was set to debut at her Tenderloin performance space, she received a letter from United States Citizenship and Immigration Services (USCIS)—an agency that works parallel to ICE under the Department of Homeland Security—stating that Power has been \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denied\u003c/a> permission to perform in the United States on the basis that \u003cem>Crippled\u003c/em> is not “culturally unique.”\u003c/span>\u003c/p>\n\u003cp>Augello argues that, as a law enforcement agency, USCIS is not qualified to judge an artistic production’s uniqueness or artistic merit. She says that the decision was unfairly arbitrary, as she submitted letters of support from credible organizations such as Canada Council on the Arts, Actors’ Equity Association, the National Arts Centre of Canada and the San Francisco-based Paul K. Longmore Institute on Disability attesting to the play’s singular depiction of a gay lead with disabilities grappling with the loss of his partner. [contextly_sidebar id=”hGHlpHmPBQ0Qv8klFunUkn2Dy2wIs9De”]\u003c/p>\n\u003cp>Still, the \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denial letter\u003c/a> Augello received from USCIS reads, “The contract, electric correspondences and itinerary you provided is insufficient because it did not provide any details to demonstrate that all of the performances or presentations will be culturally unique events.”\u003c/p>\n\u003cp>“F\u003cspan style=\"font-weight: 400\">or them to be in charge of saying Paul can’t bring his show there—they don’t have their expertise,” Augello says. “\u003c/span>\u003cspan style=\"font-weight: 400\">These [artists] are able to come here [as tourists]. They’re not a threat to our safety.”\u003c/span>\u003c/p>\n\u003cp>The denial letter Augello received from USCIS stipulates that EXIT Theatre has a month to appeal the decision, but Augello says the opportunity has already passed to produce \u003cem>Crippled\u003c/em> this season. She says that current policy for allowing international artists to perform in the United States is too restrictive for independent artists like the ones she works with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They make it impossible for the indie theater artists,” Augello says. “World-class artists have a machine behind them.”\u003c/span>\u003c/p>\n\u003cp>Without the resources of a well-funded performing arts organization, independent artists have no choice but to spend thousands of dollars in legal fees to navigate United States immigration bureaucracy. [contextly_sidebar id=”b9tNUB3G4AFC0ZNY5Lqiex4Z6ofgrPTo”]\u003c/p>\n\u003cp>Augello is a producer of the \u003ca href=\"http://www.sffringe.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Fringe Festival\u003c/a>, a long-running indie theater fest, and says that due to the United States’ restrictive laws, international participation in the festival has dwindled, and that several performers have been denied entry at the last minute. This USCIS policy is not just something that impacts theater, she says, but music, visual art and all realms of culture.\u003c/p>\n\u003cp>“We have a difficult time getting indie performers in the country,” she says. “But as an indie performer myself, all I need to go to Canada is an invitation letter—and there are some restrictions, financial, et cetera—but it’s very simple to go to Canada and work the fringe circuit.”\u003c/p>\n\u003cp>Augello says the law needs to change. She created a \u003ca href=\"https://petitions.moveon.org/sign/let-international-artists?source=c.url&r_by=12824690%3Chttps://protect-us.mimecast.com/s/Q2mLCADmygFN21WqC93aZm?domain=theexit.us6.list-manage.com\" target=\"_blank\" rel=\"noopener\">MoveOn.org petition\u003c/a> directed at Congresswoman Nancy Pelosi, urging for the creation of a more straight-forward policy that would allow international artists to perform in the United States. The problem with current policy, she argues, is that it’s too opaque and subjectively enforced.\u003c/p>\n\u003cp>USCIS policy defines “culturally unique” as “a style of artistic methodology, expression or medium which is unique to particular country, nation, society, class, ethnicity, religion, tribe or group of persons.” And though Power’s application included testimony from performing arts and disability experts on why his production is a singular work of art, USCIS’ denial letter states that there was insufficient proof of this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We spent money and I believe we had the expertise and support and insight—we consulted with lawyers—and it still didn’t work,” Augello says, frustrated, implying that \u003cem>Crippled\u003c/em> was just too experimental for USCIS to understand. “There is no category that applies, that’s what it comes down to.”\u003c/p>\n\n",
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"excerpt": "The U.S. government blocked a performance of Paul David Power's 'Crippled,' citing a lack of \"cultural uniqueness.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.theexit.org/calendar-2017/\" target=\"_blank\" rel=\"noopener\">EXIT Theatre\u003c/a> founder \u003cspan style=\"font-weight: 400\">Christina Augello spent a year’s work and nearly $3,000 to bring Paul David Power’s play \u003ca href=\"https://www.powerproductions.ca/crippled.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Crippled\u003c/em>\u003c/a> to San Francisco. But just weeks before the \u003ca href=\"http://www.theexit.org/crippled/\" target=\"_blank\" rel=\"noopener\">show\u003c/a> was set to debut at her Tenderloin performance space, she received a letter from United States Citizenship and Immigration Services (USCIS)—an agency that works parallel to ICE under the Department of Homeland Security—stating that Power has been \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denied\u003c/a> permission to perform in the United States on the basis that \u003cem>Crippled\u003c/em> is not “culturally unique.”\u003c/span>\u003c/p>\n\u003cp>Augello argues that, as a law enforcement agency, USCIS is not qualified to judge an artistic production’s uniqueness or artistic merit. She says that the decision was unfairly arbitrary, as she submitted letters of support from credible organizations such as Canada Council on the Arts, Actors’ Equity Association, the National Arts Centre of Canada and the San Francisco-based Paul K. Longmore Institute on Disability attesting to the play’s singular depiction of a gay lead with disabilities grappling with the loss of his partner. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Still, the \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denial letter\u003c/a> Augello received from USCIS reads, “The contract, electric correspondences and itinerary you provided is insufficient because it did not provide any details to demonstrate that all of the performances or presentations will be culturally unique events.”\u003c/p>\n\u003cp>“F\u003cspan style=\"font-weight: 400\">or them to be in charge of saying Paul can’t bring his show there—they don’t have their expertise,” Augello says. “\u003c/span>\u003cspan style=\"font-weight: 400\">These [artists] are able to come here [as tourists]. They’re not a threat to our safety.”\u003c/span>\u003c/p>\n\u003cp>The denial letter Augello received from USCIS stipulates that EXIT Theatre has a month to appeal the decision, but Augello says the opportunity has already passed to produce \u003cem>Crippled\u003c/em> this season. She says that current policy for allowing international artists to perform in the United States is too restrictive for independent artists like the ones she works with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They make it impossible for the indie theater artists,” Augello says. “World-class artists have a machine behind them.”\u003c/span>\u003c/p>\n\u003cp>Without the resources of a well-funded performing arts organization, independent artists have no choice but to spend thousands of dollars in legal fees to navigate United States immigration bureaucracy. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Augello is a producer of the \u003ca href=\"http://www.sffringe.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Fringe Festival\u003c/a>, a long-running indie theater fest, and says that due to the United States’ restrictive laws, international participation in the festival has dwindled, and that several performers have been denied entry at the last minute. This USCIS policy is not just something that impacts theater, she says, but music, visual art and all realms of culture.\u003c/p>\n\u003cp>“We have a difficult time getting indie performers in the country,” she says. “But as an indie performer myself, all I need to go to Canada is an invitation letter—and there are some restrictions, financial, et cetera—but it’s very simple to go to Canada and work the fringe circuit.”\u003c/p>\n\u003cp>Augello says the law needs to change. She created a \u003ca href=\"https://petitions.moveon.org/sign/let-international-artists?source=c.url&r_by=12824690%3Chttps://protect-us.mimecast.com/s/Q2mLCADmygFN21WqC93aZm?domain=theexit.us6.list-manage.com\" target=\"_blank\" rel=\"noopener\">MoveOn.org petition\u003c/a> directed at Congresswoman Nancy Pelosi, urging for the creation of a more straight-forward policy that would allow international artists to perform in the United States. The problem with current policy, she argues, is that it’s too opaque and subjectively enforced.\u003c/p>\n\u003cp>USCIS policy defines “culturally unique” as “a style of artistic methodology, expression or medium which is unique to particular country, nation, society, class, ethnicity, religion, tribe or group of persons.” And though Power’s application included testimony from performing arts and disability experts on why his production is a singular work of art, USCIS’ denial letter states that there was insufficient proof of this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We spent money and I believe we had the expertise and support and insight—we consulted with lawyers—and it still didn’t work,” Augello says, frustrated, implying that \u003cem>Crippled\u003c/em> was just too experimental for USCIS to understand. “There is no category that applies, that’s what it comes down to.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "far-from-parkland-spotlight-teens-in-east-oakland-want-to-tell-their-stories",
"title": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories",
"publishDate": 1550175672,
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"headTitle": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories | KQED",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692823424/693851818\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" 0=\"title="NPR\" 1=\"embedded\" 2=\"audio\" 3=\"player"></iframe\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the nation marks one year since the Parkland school shooting, many Americans are thinking about how the conversation about kids and gun violence has shifted.\u003c/p>\n\u003cp>In the weeks and months after a gunman killed 17 people at Marjory Stoneman Douglas High School in Parkland, Fla., students took to the streets and the airwaves to call for fundamental change in America’s gun laws. Stoneman Douglas students and students nationwide rallied in an effort to prevent that kind of massacre from happening again.\u003c/p>\n\u003cp>[contextly_sidebar id=”WTfQuekzzxIPqsBrz9uxOGDjmIff8WE4″]\u003c/p>\n\u003cp>And so far in 2019, according to an analysis by Pacific Standard, \u003ca href=\"https://psmag.com/social-justice/the-116th-congress-is-refocused-on-gun-control-in-the-wake-of-parkland\">the 116th Congress has already introduced 33 gun control bills\u003c/a>, a number not seen since the aftermath of the Sandy Hook shooting.\u003c/p>\n\u003cp>But for some young people, a year’s attention on events like Parkland hasn’t turned into the attention they’re asking for: a spotlight on the everyday gun violence they experience in their neighborhoods.\u003c/p>\n\u003cp>“We might not see all of our friends die at the same time, but we’re definitely seeing people fade away to the same fate, just on multiple occasions,” says Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif. “You’re like, I just hope I make the right decisions today.”\u003c/p>\n\u003cfigure id=\"attachment_13850836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg\" alt=\"Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“Distorted our perception of reality”\u003c/strong>\u003c/p>\n\u003cp>Patten and other students from Castlemont High have conflicted feelings at the first anniversary of the Parkland shooting. On one hand, they say, they are grateful that America is paying more attention to gun violence. On the other, they know that the gun violence that affects them, sometimes daily, gets much less attention than mass shootings that happen at places like Parkland.\u003c/p>\n\u003cp>Oakland had 75 homicides in 2017, with \u003ca href=\"https://issuu.com/youthalive/docs/ya_annualreport2018.print\">46 of those in East Oakland\u003c/a>, where Patten and classmates Ajahnay Cooper, 17, and Armon Hurst, 18, attend school. That’s about one homicide per week in the youths’ neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13850834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg\" alt=\"Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year's Eve, she and her family were forced out of their home for the night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper, Hurst and Patten all have vivid memories of the multiple times gun violence has touched their lives. All three students are members of an Oakland-based violence intervention program called Youth ALIVE! and they remember when one of their program counselors was shot just outside the high school. Hurst can recall being held up at gunpoint at an East Oakland McDonald’s and the multiple times he had to run from bullets in his neighborhood. Cooper can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she says that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. She sometimes carries a knife or pepper spray in her neighborhood to feel safer.\u003c/p>\n\u003cfigure id=\"attachment_13850839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg\" alt=\"Memorials for victims of gun-related homicide in Oakland.\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1200x398.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1920x637.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorials for victims of gun-related homicide in Oakland. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually, like, numbing,” Hurst says. “You don’t even feel the pain no more. You know something might go on today. When people really ask me if I feel safe at home or at school, it’s neither.”\u003c/p>\n\u003cp>They say they’re never really sure which classmate may have brought a gun to school. They say they aren’t sure when they may have to run from gunfire. And they say they don’t know when a small high school dispute might turn into violence.\u003c/p>\n\u003cp>The students say the kind of day-to-day gun violence they experience is under-covered in the press. And they have a point. A mass shooting anywhere in the country usually garners more national media attention than a single shooting or homicide that happens regularly in neighborhoods like East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13850835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_299_slide-c63a8784d4cddd8044950db7c39a277238b76502-800x533.jpg\" alt=\"Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school.\" width=\"800\" height=\"533\" />\u003cfigcaption class=\"wp-caption-text\">Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The higher the shooting’s death toll, the greater the coverage, says Joel A. Capellan at Rowan University, who studies mass shootings. “No. 1 is how lethal the shooting is,” Capellan says. “That’s the most predictive factor when it comes to not only which shootings get presented by the news but also how much they are presented.”\u003c/p>\n\u003cp>This already makes the everyday violence in places like East Oakland less likely to get widespread attention. And then there are other elements that seem to determine coverage, he says.\u003c/p>\n\u003cp>“When the victims are younger … particularly white children and white teenagers, that seems to be a pretty big factor,” Capellan says. “When they’re black and poor, they get no attention, or very little attention.”\u003c/p>\n\u003cp>The way mass shootings are covered has “fundamentally distorted our perception of reality,” he says. “The public generally thinks that there are more mass shootings than there actually are in real life.”\u003c/p>\n\u003cfigure id=\"attachment_13850840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg\" alt=\"Crosses erected at a local church for every homicide victim in Oakland, Calif.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Crosses erected at a local church for every homicide victim in Oakland, Calif. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“It’s our time to talk”\u003c/strong>\u003c/p>\n\u003cp>The vast majority of gun deaths — \u003ca href=\"https://www.bradycampaign.org/sites/default/files/Brady-Guns-Suicide-Report-2016.pdf\">more than two-thirds\u003c/a> — in America every year are suicides. Mass shootings account for about \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/02/01/170872321/study-most-gun-deaths-happen-outside-of-mass-shootings\">1 percent of all gun-related deaths \u003c/a>in the U.S. every year. Even as the rate of mass shootings has increased over the past several years, they are a small fraction of gun deaths in America.\u003c/p>\n\u003cp>“We can’t solve a problem when we don’t know what’s happening,” says Pamela Mejia, head of research at the Berkeley Media Studies Group, which examines mass media and its connection to public health. “If the coverage is overwhelmingly driven by very high profile but fundamentally fairly rare issues … what people, voters, policymakers … are learning about and having a sense of as the norm is only those very isolated incidences. And then the solutions that they’re thinking about are really solutions that only address those specific problems.”\u003c/p>\n\u003cfigure id=\"attachment_13850837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg\" alt=\"A memorial for a victim of gun-related homicide outside Castlemont High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">A memorial for a victim of gun-related homicide outside Castlemont High School. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurst, Cooper and Patten, the students at Castlemont High, hope that the Parkland shooting anniversary is a moment for all Americans to think about the ways gun violence affects people in communities like theirs and to look farther than Parkland to see the reality of gun violence all over America.\u003c/p>\n\u003cp>They also have a few words for the students at Parkland, who have galvanized the nation over the past year.\u003c/p>\n\u003cp>“I have to respect them for their leadership,” Hurst says. “I would just say that you were blessed with all that media attention.”\u003c/p>\n\u003cp>Patten echoes the sentiment. “I would tell them, I’m sorry for what you went through,” he says, “but it’s our time to talk.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>Anjuli Sastry and Jordana Hochman produced and edited the broadcast version of this \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510317/its-been-a-minute-with-sam-sanders\">It’s Been A Minute\u003c/a>\u003cem> episode. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n",
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"excerpt": "In East Oakland, Calif., where gun violence is chronic, some are grateful that after Parkland, America pays more attention to the issue. But as an East Oakland youth says, \"It's our time to talk.\"",
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"title": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories | KQED",
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"headline": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories",
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"nprByline": "Sam Sanders and Anjuli Sastry",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692823424/693851818\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" 0=\"title="NPR\" 1=\"embedded\" 2=\"audio\" 3=\"player"></iframe\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the nation marks one year since the Parkland school shooting, many Americans are thinking about how the conversation about kids and gun violence has shifted.\u003c/p>\n\u003cp>In the weeks and months after a gunman killed 17 people at Marjory Stoneman Douglas High School in Parkland, Fla., students took to the streets and the airwaves to call for fundamental change in America’s gun laws. Stoneman Douglas students and students nationwide rallied in an effort to prevent that kind of massacre from happening again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And so far in 2019, according to an analysis by Pacific Standard, \u003ca href=\"https://psmag.com/social-justice/the-116th-congress-is-refocused-on-gun-control-in-the-wake-of-parkland\">the 116th Congress has already introduced 33 gun control bills\u003c/a>, a number not seen since the aftermath of the Sandy Hook shooting.\u003c/p>\n\u003cp>But for some young people, a year’s attention on events like Parkland hasn’t turned into the attention they’re asking for: a spotlight on the everyday gun violence they experience in their neighborhoods.\u003c/p>\n\u003cp>“We might not see all of our friends die at the same time, but we’re definitely seeing people fade away to the same fate, just on multiple occasions,” says Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif. “You’re like, I just hope I make the right decisions today.”\u003c/p>\n\u003cfigure id=\"attachment_13850836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg\" alt=\"Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“Distorted our perception of reality”\u003c/strong>\u003c/p>\n\u003cp>Patten and other students from Castlemont High have conflicted feelings at the first anniversary of the Parkland shooting. On one hand, they say, they are grateful that America is paying more attention to gun violence. On the other, they know that the gun violence that affects them, sometimes daily, gets much less attention than mass shootings that happen at places like Parkland.\u003c/p>\n\u003cp>Oakland had 75 homicides in 2017, with \u003ca href=\"https://issuu.com/youthalive/docs/ya_annualreport2018.print\">46 of those in East Oakland\u003c/a>, where Patten and classmates Ajahnay Cooper, 17, and Armon Hurst, 18, attend school. That’s about one homicide per week in the youths’ neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13850834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg\" alt=\"Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year's Eve, she and her family were forced out of their home for the night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper, Hurst and Patten all have vivid memories of the multiple times gun violence has touched their lives. All three students are members of an Oakland-based violence intervention program called Youth ALIVE! and they remember when one of their program counselors was shot just outside the high school. Hurst can recall being held up at gunpoint at an East Oakland McDonald’s and the multiple times he had to run from bullets in his neighborhood. Cooper can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she says that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. She sometimes carries a knife or pepper spray in her neighborhood to feel safer.\u003c/p>\n\u003cfigure id=\"attachment_13850839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg\" alt=\"Memorials for victims of gun-related homicide in Oakland.\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1200x398.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1920x637.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorials for victims of gun-related homicide in Oakland. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually, like, numbing,” Hurst says. “You don’t even feel the pain no more. You know something might go on today. When people really ask me if I feel safe at home or at school, it’s neither.”\u003c/p>\n\u003cp>They say they’re never really sure which classmate may have brought a gun to school. They say they aren’t sure when they may have to run from gunfire. And they say they don’t know when a small high school dispute might turn into violence.\u003c/p>\n\u003cp>The students say the kind of day-to-day gun violence they experience is under-covered in the press. And they have a point. A mass shooting anywhere in the country usually garners more national media attention than a single shooting or homicide that happens regularly in neighborhoods like East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13850835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_299_slide-c63a8784d4cddd8044950db7c39a277238b76502-800x533.jpg\" alt=\"Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school.\" width=\"800\" height=\"533\" />\u003cfigcaption class=\"wp-caption-text\">Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The higher the shooting’s death toll, the greater the coverage, says Joel A. Capellan at Rowan University, who studies mass shootings. “No. 1 is how lethal the shooting is,” Capellan says. “That’s the most predictive factor when it comes to not only which shootings get presented by the news but also how much they are presented.”\u003c/p>\n\u003cp>This already makes the everyday violence in places like East Oakland less likely to get widespread attention. And then there are other elements that seem to determine coverage, he says.\u003c/p>\n\u003cp>“When the victims are younger … particularly white children and white teenagers, that seems to be a pretty big factor,” Capellan says. “When they’re black and poor, they get no attention, or very little attention.”\u003c/p>\n\u003cp>The way mass shootings are covered has “fundamentally distorted our perception of reality,” he says. “The public generally thinks that there are more mass shootings than there actually are in real life.”\u003c/p>\n\u003cfigure id=\"attachment_13850840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg\" alt=\"Crosses erected at a local church for every homicide victim in Oakland, Calif.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Crosses erected at a local church for every homicide victim in Oakland, Calif. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“It’s our time to talk”\u003c/strong>\u003c/p>\n\u003cp>The vast majority of gun deaths — \u003ca href=\"https://www.bradycampaign.org/sites/default/files/Brady-Guns-Suicide-Report-2016.pdf\">more than two-thirds\u003c/a> — in America every year are suicides. Mass shootings account for about \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/02/01/170872321/study-most-gun-deaths-happen-outside-of-mass-shootings\">1 percent of all gun-related deaths \u003c/a>in the U.S. every year. Even as the rate of mass shootings has increased over the past several years, they are a small fraction of gun deaths in America.\u003c/p>\n\u003cp>“We can’t solve a problem when we don’t know what’s happening,” says Pamela Mejia, head of research at the Berkeley Media Studies Group, which examines mass media and its connection to public health. “If the coverage is overwhelmingly driven by very high profile but fundamentally fairly rare issues … what people, voters, policymakers … are learning about and having a sense of as the norm is only those very isolated incidences. And then the solutions that they’re thinking about are really solutions that only address those specific problems.”\u003c/p>\n\u003cfigure id=\"attachment_13850837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg\" alt=\"A memorial for a victim of gun-related homicide outside Castlemont High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">A memorial for a victim of gun-related homicide outside Castlemont High School. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurst, Cooper and Patten, the students at Castlemont High, hope that the Parkland shooting anniversary is a moment for all Americans to think about the ways gun violence affects people in communities like theirs and to look farther than Parkland to see the reality of gun violence all over America.\u003c/p>\n\u003cp>They also have a few words for the students at Parkland, who have galvanized the nation over the past year.\u003c/p>\n\u003cp>“I have to respect them for their leadership,” Hurst says. “I would just say that you were blessed with all that media attention.”\u003c/p>\n\u003cp>Patten echoes the sentiment. “I would tell them, I’m sorry for what you went through,” he says, “but it’s our time to talk.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>Anjuli Sastry and Jordana Hochman produced and edited the broadcast version of this \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510317/its-been-a-minute-with-sam-sanders\">It’s Been A Minute\u003c/a>\u003cem> episode. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003c/div>\u003c/p>",
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"title": "Christine Wong Yap Asks: Where Do You Feel a Sense of Belonging?",
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"content": "\u003cp>Do you feel belonging in your local library, a neighborhood bar, a regular meeting in city hall? Or do you carry your sense of belonging with you from place to place? \u003c/p>\n\u003cp>New York-based artist and Oakland expat \u003ca href=\"http://christinewongyap.com/index.html\" rel=\"noopener\" target=\"_blank\">Christine Wong Yap\u003c/a> is making that often-intangible feeling visible—by identifying, commemorating and sharing others’ sites of belonging—based on a survey of nearly 100 participants in the nine-county Bay Area region.\u003c/p>\n\u003cp>Belonging happens when people feel safe, seen and accepted, Wong Yap says. Her questionnaire, issued over a five-week period at the end of 2018, asked participants identify a place where they think to themselves either “This is my community,” “These are my people,” or “I can be me here.” \u003c/p>\n\u003cfigure id=\"attachment_13850677\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/hbba4d-certificate-Balmy-Alley-scanned-01a-612x792.jpg\" alt=\"Christine Wong Yap, 'Belonging Certificate: Balmy Alley,' nominated by Elizabeth Travelslight, 2018.\" width=\"612\" height=\"792\" class=\"size-full wp-image-13850677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba4d-certificate-Balmy-Alley-scanned-01a-612x792.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba4d-certificate-Balmy-Alley-scanned-01a-612x792-160x207.jpg 160w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap, ‘Belonging Certificate: Balmy Alley,’ nominated by Elizabeth Travelslight, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The answers are scattered across the Bay Area, including sites of natural beauty (Mt. Tam, Ocean Beach, a hiking trail), childhood homes, arts destinations (Balmy Alley, ProArts) and places of worship. For Wong Yap, the questionnaire wasn’t just a means of gathering data to fuel her material output, but a way of asking participants to examine their own sense of belonging and the conditions that create that feeling.\u003c/p>\n\u003cp>“When we’re more self-aware,” Wong Yap’s \u003ci>\u003ca href=\"http://christinewongyap.com/work/2019/belonging-bay-area/index.html\" rel=\"noopener\" target=\"_blank\">Belonging\u003c/a>\u003c/i> project website states, “we can be more intentional about the spaces we co-create.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong Yap is currently in the “production & commemoration” stage of \u003ci>Belonging\u003c/i>, a months-long social practice project that began in November 2018 with \u003ca href=\"https://haasinstitute.berkeley.edu/air\" rel=\"noopener\" target=\"_blank\">her residency\u003c/a> at Berkeley’s Haas Institute for a Fair and Inclusive Society. \u003c/p>\n\u003cp>For the first five weeks, she was in “story collection” mode, distributing and collecting questionnaires in English, Spanish and Chinese. She conducted workshops with the help of community groups like \u003ca href=\"https://www.soccerwithoutborders.org/\" rel=\"noopener\" target=\"_blank\">Soccer Without Borders\u003c/a>, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center\u003c/a> and \u003ca href=\"http://www.thebeatwithin.org/\" rel=\"noopener\" target=\"_blank\">The Beat Within\u003c/a>. It’s an expanded version of \u003ca href=\"http://christinewongyap.com/work/2017/belonging/index.html\" rel=\"noopener\" target=\"_blank\">a similar project\u003c/a> she undertook in Albuquerque in 2017, when she was in residence at an arts space called the Sanitary Tortilla Factory.\u003c/p>\n\u003cfigure id=\"attachment_13850676\" class=\"wp-caption aligncenter\" style=\"max-width: 1101px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp.jpg\" alt=\"Christine Wong Yap, From the 'Belonging Signs' series in Albuquerque, 2017.\" width=\"1101\" height=\"733\" class=\"size-full wp-image-13850676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp.jpg 1101w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-1020x679.jpg 1020w\" sizes=\"(max-width: 1101px) 100vw, 1101px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap, From the ‘Belonging Signs’ series in Albuquerque, 2017. \u003ccite>(Michael Apolo Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wanted to do something that said everyone belongs here,” she remembers. We’re sitting between two tables at \u003ca href=\"http://www.kala.org/\" rel=\"noopener\" target=\"_blank\">Kala Art Institute\u003c/a>, the venerable Berkeley printmaking workshop, with Wong Yap’s notes, sketches and bandanna prototypes spread around us.\u003c/p>\n\u003cp>In the days before and after the 2016 elections, Wong Yap (and everyone else) was thinking about immigration, about who is given permission to be themselves—or even be—in certain spaces. The first iteration of \u003ci>Belonging\u003c/i> culminated in 13 hand-painted signs mounted (sometimes guerrilla-style) at places where Albuquerqueans felt a sense of belonging. \u003c/p>\n\u003cp>“Being exposed to Latino art, music and history helped me with self-discovery, identity and community,” reads one sign meant for Albuquerque’s National Hispanic Cultural Center. Other sites included an improv theater, a flamenco class, a church and a pool.\u003c/p>\n\u003cp>With the Bay Area version, Wong Yap is expanding her horizons in terms of both geography and output. When she presents the project at the Haas Institute’s \u003ca href=\"http://conference.otheringandbelonging.org/\" rel=\"noopener\" target=\"_blank\">Othering & Belonging Conference\u003c/a> in early April, she’ll have a publication filled with the edited responses, 25 framed and hand-lettered certificates mounted at sites identified by participants, a suite of screen-printed bandannas (for those with a peripatetic sense of belonging), and some maps of belonging in the Bay Area—she’s still figuring that part out.\u003c/p>\n\u003cfigure id=\"attachment_13850678\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500.jpg\" alt=\"Christine Wong Yap, 'Belonging Bandana: Escaping into the Mystery of Being,' inspired by Niko, 2018.\" width=\"1500\" height=\"1500\" class=\"size-full wp-image-13850678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-150x150.jpg 150w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap, ‘Belonging Bandana: Escaping into the Mystery of Being,’ inspired by Niko, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Surprisingly, Wong Yap says very few respondents were unable to name a single Bay Area site where they feel belonging. “Are there circumstances that would help you feel a sense of belonging?” asks the questionnaire.\u003c/p>\n\u003cp>“Sometimes people would say, ‘I just need to put myself out there more,’” Wong Yap says. “Some of them were like, ‘The perfect place for me would be a place for international students to listen to new wave and not talk to each other.’” (With a little effort, Wong Yap thinks the participant could make this dream become a reality.)\u003c/p>\n\u003cp>“There’s very personal levels of belonging and very political levels of belonging,” she says, and the two don’t always align. This is especially true, she points out, for those historically pushed to the margins of mainstream American society and portrayed homogeneous groups: Native Americans, Muslims, undocumented immigrants. \u003c/p>\n\u003cp>“Maybe the place where they feel belonging is a quilting circle or jujitsu,” she says. The depth of her questionnaire captured all of this. “You peek into their dimensionality or humanity. They don’t have to be limited in the same way that policies lump people together and limit them.”\u003c/p>\n\u003cp>Feeling personal belonging is hard, Wong Yap says. “On some levels it’s a pretty high level of self-actualization, just to feel confident, safe and secure in your own self.” Systems, rules, rhetoric, politics, policies, migroaggressions—all of this tells people if they’re welcome somewhere or not.\u003c/p>\n\u003cp>But there are simple steps we can take, Wong Yap says, to create a sense of interpersonal belonging with the people around us. Say “hi” to your neighbors, be open and talk to people. Greet some by their name, give them a warm handshake or a hug. “It’s so easy to implement,” she says, “it’s what you’d want to teach a kid.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To me,” she adds, “it’s so moving. Don’t you want everyone to feel great about where they live?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you feel belonging in your local library, a neighborhood bar, a regular meeting in city hall? Or do you carry your sense of belonging with you from place to place? \u003c/p>\n\u003cp>New York-based artist and Oakland expat \u003ca href=\"http://christinewongyap.com/index.html\" rel=\"noopener\" target=\"_blank\">Christine Wong Yap\u003c/a> is making that often-intangible feeling visible—by identifying, commemorating and sharing others’ sites of belonging—based on a survey of nearly 100 participants in the nine-county Bay Area region.\u003c/p>\n\u003cp>Belonging happens when people feel safe, seen and accepted, Wong Yap says. Her questionnaire, issued over a five-week period at the end of 2018, asked participants identify a place where they think to themselves either “This is my community,” “These are my people,” or “I can be me here.” \u003c/p>\n\u003cfigure id=\"attachment_13850677\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/hbba4d-certificate-Balmy-Alley-scanned-01a-612x792.jpg\" alt=\"Christine Wong Yap, 'Belonging Certificate: Balmy Alley,' nominated by Elizabeth Travelslight, 2018.\" width=\"612\" height=\"792\" class=\"size-full wp-image-13850677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba4d-certificate-Balmy-Alley-scanned-01a-612x792.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba4d-certificate-Balmy-Alley-scanned-01a-612x792-160x207.jpg 160w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap, ‘Belonging Certificate: Balmy Alley,’ nominated by Elizabeth Travelslight, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The answers are scattered across the Bay Area, including sites of natural beauty (Mt. Tam, Ocean Beach, a hiking trail), childhood homes, arts destinations (Balmy Alley, ProArts) and places of worship. For Wong Yap, the questionnaire wasn’t just a means of gathering data to fuel her material output, but a way of asking participants to examine their own sense of belonging and the conditions that create that feeling.\u003c/p>\n\u003cp>“When we’re more self-aware,” Wong Yap’s \u003ci>\u003ca href=\"http://christinewongyap.com/work/2019/belonging-bay-area/index.html\" rel=\"noopener\" target=\"_blank\">Belonging\u003c/a>\u003c/i> project website states, “we can be more intentional about the spaces we co-create.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong Yap is currently in the “production & commemoration” stage of \u003ci>Belonging\u003c/i>, a months-long social practice project that began in November 2018 with \u003ca href=\"https://haasinstitute.berkeley.edu/air\" rel=\"noopener\" target=\"_blank\">her residency\u003c/a> at Berkeley’s Haas Institute for a Fair and Inclusive Society. \u003c/p>\n\u003cp>For the first five weeks, she was in “story collection” mode, distributing and collecting questionnaires in English, Spanish and Chinese. She conducted workshops with the help of community groups like \u003ca href=\"https://www.soccerwithoutborders.org/\" rel=\"noopener\" target=\"_blank\">Soccer Without Borders\u003c/a>, San Francisco’s \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center\u003c/a> and \u003ca href=\"http://www.thebeatwithin.org/\" rel=\"noopener\" target=\"_blank\">The Beat Within\u003c/a>. It’s an expanded version of \u003ca href=\"http://christinewongyap.com/work/2017/belonging/index.html\" rel=\"noopener\" target=\"_blank\">a similar project\u003c/a> she undertook in Albuquerque in 2017, when she was in residence at an arts space called the Sanitary Tortilla Factory.\u003c/p>\n\u003cfigure id=\"attachment_13850676\" class=\"wp-caption aligncenter\" style=\"max-width: 1101px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp.jpg\" alt=\"Christine Wong Yap, From the 'Belonging Signs' series in Albuquerque, 2017.\" width=\"1101\" height=\"733\" class=\"size-full wp-image-13850676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp.jpg 1101w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/belonging-sign-13-Cooperage-location-MAG-B-angle-550x733-comp-1020x679.jpg 1020w\" sizes=\"(max-width: 1101px) 100vw, 1101px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap, From the ‘Belonging Signs’ series in Albuquerque, 2017. \u003ccite>(Michael Apolo Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wanted to do something that said everyone belongs here,” she remembers. We’re sitting between two tables at \u003ca href=\"http://www.kala.org/\" rel=\"noopener\" target=\"_blank\">Kala Art Institute\u003c/a>, the venerable Berkeley printmaking workshop, with Wong Yap’s notes, sketches and bandanna prototypes spread around us.\u003c/p>\n\u003cp>In the days before and after the 2016 elections, Wong Yap (and everyone else) was thinking about immigration, about who is given permission to be themselves—or even be—in certain spaces. The first iteration of \u003ci>Belonging\u003c/i> culminated in 13 hand-painted signs mounted (sometimes guerrilla-style) at places where Albuquerqueans felt a sense of belonging. \u003c/p>\n\u003cp>“Being exposed to Latino art, music and history helped me with self-discovery, identity and community,” reads one sign meant for Albuquerque’s National Hispanic Cultural Center. Other sites included an improv theater, a flamenco class, a church and a pool.\u003c/p>\n\u003cp>With the Bay Area version, Wong Yap is expanding her horizons in terms of both geography and output. When she presents the project at the Haas Institute’s \u003ca href=\"http://conference.otheringandbelonging.org/\" rel=\"noopener\" target=\"_blank\">Othering & Belonging Conference\u003c/a> in early April, she’ll have a publication filled with the edited responses, 25 framed and hand-lettered certificates mounted at sites identified by participants, a suite of screen-printed bandannas (for those with a peripatetic sense of belonging), and some maps of belonging in the Bay Area—she’s still figuring that part out.\u003c/p>\n\u003cfigure id=\"attachment_13850678\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500.jpg\" alt=\"Christine Wong Yap, 'Belonging Bandana: Escaping into the Mystery of Being,' inspired by Niko, 2018.\" width=\"1500\" height=\"1500\" class=\"size-full wp-image-13850678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/hbba5A-bandana-Niko-photo-01a-1500x1500-150x150.jpg 150w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Christine Wong Yap, ‘Belonging Bandana: Escaping into the Mystery of Being,’ inspired by Niko, 2018. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Surprisingly, Wong Yap says very few respondents were unable to name a single Bay Area site where they feel belonging. “Are there circumstances that would help you feel a sense of belonging?” asks the questionnaire.\u003c/p>\n\u003cp>“Sometimes people would say, ‘I just need to put myself out there more,’” Wong Yap says. “Some of them were like, ‘The perfect place for me would be a place for international students to listen to new wave and not talk to each other.’” (With a little effort, Wong Yap thinks the participant could make this dream become a reality.)\u003c/p>\n\u003cp>“There’s very personal levels of belonging and very political levels of belonging,” she says, and the two don’t always align. This is especially true, she points out, for those historically pushed to the margins of mainstream American society and portrayed homogeneous groups: Native Americans, Muslims, undocumented immigrants. \u003c/p>\n\u003cp>“Maybe the place where they feel belonging is a quilting circle or jujitsu,” she says. The depth of her questionnaire captured all of this. “You peek into their dimensionality or humanity. They don’t have to be limited in the same way that policies lump people together and limit them.”\u003c/p>\n\u003cp>Feeling personal belonging is hard, Wong Yap says. “On some levels it’s a pretty high level of self-actualization, just to feel confident, safe and secure in your own self.” Systems, rules, rhetoric, politics, policies, migroaggressions—all of this tells people if they’re welcome somewhere or not.\u003c/p>\n\u003cp>But there are simple steps we can take, Wong Yap says, to create a sense of interpersonal belonging with the people around us. Say “hi” to your neighbors, be open and talk to people. Greet some by their name, give them a warm handshake or a hug. “It’s so easy to implement,” she says, “it’s what you’d want to teach a kid.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To me,” she adds, “it’s so moving. Don’t you want everyone to feel great about where they live?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Imprisoned Chinese Immigrants Etched Their Anguish Into Angel Island Walls",
"headTitle": "Imprisoned Chinese Immigrants Etched Their Anguish Into Angel Island Walls | KQED",
"content": "\u003cp>Growing up, \u003ca href=\"https://jeffreythomasleong.com/books/wild-geese-sorrow/\" target=\"_blank\" rel=\"noopener\">Jeffrey Thomas Leong\u003c/a> heard stories from his father, a Chinese immigrant who first traveled to San Francisco in 1920.\u003c/p>\n\u003cp>“Around the dinner table at night, he would tell us about his experiences growing up in China and coming to America,” says Leong, an East Bay poet and writer. “But he wouldn’t give us too much information. It would be little sketches.”\u003c/p>\n\u003cp>Those vague memories, which Leong recounts in the introduction to his book, \u003cem>Wild Geese Sorrow: The Chinese Wall Inscriptions at Angel Island\u003c/em>, included his father’s journey through \u003ca href=\"https://www.aiisf.org/history/\" target=\"_blank\" rel=\"noopener\">Angel Island\u003c/a>, where he passed interrogations at the immigration station while his travel companion was denied entry and ultimately deported.\u003c/p>\n\u003cp>Imprisoned upon arrival, the Chinese immigrants etched their anguish, literally, into the walls. In the “wood house” at Angel Island, men carved poems into its surfaces, many of which were preserved by putty that immigration officials plastered, ironically, to erase the detainees’ efforts. The inscriptions—desperately chronicling heartbreak with a certain visceral immediacy—serve as a remarkable testimony of a Chinese immigrant experience that has largely been forgotten along with the larger history of Angel Island’s immigration station.\u003c/p>\n\u003cp>In \u003cem>Wild Geese Sorrow\u003c/em>, Leong compiles 70 of the 200 or so identifiable poems written on the walls, including both the original text and his own translations.\u003c/p>\n\u003cfigure id=\"attachment_13850550\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850550\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2-800x1199.jpg\" alt=\"Jeffrey Thomas Long's 'Wild Geese Sorrow: The Chinese Wall Inscriptions at Angel Island.'\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2-768x1151.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Thomas Long’s ‘Wild Geese Sorrow: The Chinese Wall Inscriptions at Angel Island.’\u003c/figcaption>\u003c/figure>\n\u003cp>Between 1910 and 1940, when the immigration station was active, the Chinese Exclusion Act was still in effect. It was the first U.S. law of its kind, banning immigrants of Chinese descent. At Angel Island, some 175,000 Chinese immigrants were processed as officials attempted to detect “paper sons” hoping to circumvent the racist law by fabricating relations to American-settled relatives. Few were ultimately deported, but countless were interrogated and detained indefinitely in wooden barracks.\u003c/p>\n\u003cp>Why is this history so seldom discussed? “There’s still that kind of attitude about Asian history not [being] as important as European history,” Leong says. The harsh realities of immigration were additionally kept quiet within families themselves, much like in Leong’s own, due to the “level of silence around the trauma of that experience,” he adds. “There is a lot that’s unknown and will never be known, especially because that generation, many have passed on and there are few remaining. Those stories are very precious.”\u003c/p>\n\u003cp>The detainees wrote mostly anonymously, describing hopeless despair, desperate financial circumstances and the injustice of American “barbarians.” Some engravings are deeply poetic in their literary imagery. Some are cruder expressions of anxiety and personal history. Others include cutting revelations about migration, such as this poem: “Since ancient times, leaving home results / in worthless change. / From expeditions, how many men ever return?” Another reads: “I am born unlucky, of Chinese descent, / So I must endure humiliation and contain hatred…”\u003c/p>\n\u003cfigure id=\"attachment_13850561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850561\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/PICT4423a-800x450.jpg\" alt=\"Jeffrey Thomas Leong translated about 70 of the 200 legible poems engraved by immigrant detainees at Angel Island. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Thomas Leong translated about 70 of the 200 legible poems engraved by immigrant detainees at Angel Island. \u003ccite>(Jeffrey Thomas Leong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These messages from the past, of course, feel deeply pertinent to the country’s \u003ca href=\"https://www.kqed.org/news/11712226/almost-15000-migrant-children-now-held-at-nearly-full-shelters\" target=\"_blank\" rel=\"noopener\">current political and cultural battle\u003c/a> surrounding immigration, though Leong says he could never have imagined contemporary U.S. policies hewing so closely to the island’s history.\u003c/p>\n\u003cp>“People ask me in readings, during Q&A—did they separate the children from their parents at Angel Island?” Leong says. “Because of what’s going on now, that’s a logical question. And I tell them, the answer is no. At Angel Island, young children went with the mothers, and the teenage boys had to go into the men’s barracks.”\u003c/p>\n\u003cp>The Trump administration’s recent family separations at the border are startling, but also only the continuation of an age-old reality. “Human beings who are put in a situation where they’re held against their will and have no idea what their fate will be is something as old as Angel Island and obviously older in human history,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13850563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/PICT4351-800x450.jpg\" alt=\"Engraved poetry at Angel Island.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Engraved poetry at Angel Island \u003ccite>(Jeffrey Thomas Leong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet \u003cem>Wild Geese Sorrow\u003c/em> does not stand solely as a relevant history lesson or as a remembrance of dehumanization and injustice. While the poems were carved in tragedy, they represent, for many detainees, the early memories of what often became a new life in America. Their words are a record of an immigrant community’s origins, rooted in perseverance in the face of daunting circumstances.\u003c/p>\n\u003cp>“The ultimate story I have to remind people: 95% of the people were able to land after their appeals and so on. Only about about 5% were deported. They are my parents, they are the forerunners of the Chinese American community,” Leong says. “They raised families and were successful, hard working people for the most part. That’s something to be proud of.”\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>\u003cem>Jeffrey Thomas Leong reads from Wild Geese Sorrow at Green Apple Books on Feb. 12. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-jeffrey-leong-chinese-wall-inscriptions-angel-island\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, \u003ca href=\"https://jeffreythomasleong.com/books/wild-geese-sorrow/\" target=\"_blank\" rel=\"noopener\">Jeffrey Thomas Leong\u003c/a> heard stories from his father, a Chinese immigrant who first traveled to San Francisco in 1920.\u003c/p>\n\u003cp>“Around the dinner table at night, he would tell us about his experiences growing up in China and coming to America,” says Leong, an East Bay poet and writer. “But he wouldn’t give us too much information. It would be little sketches.”\u003c/p>\n\u003cp>Those vague memories, which Leong recounts in the introduction to his book, \u003cem>Wild Geese Sorrow: The Chinese Wall Inscriptions at Angel Island\u003c/em>, included his father’s journey through \u003ca href=\"https://www.aiisf.org/history/\" target=\"_blank\" rel=\"noopener\">Angel Island\u003c/a>, where he passed interrogations at the immigration station while his travel companion was denied entry and ultimately deported.\u003c/p>\n\u003cp>Imprisoned upon arrival, the Chinese immigrants etched their anguish, literally, into the walls. In the “wood house” at Angel Island, men carved poems into its surfaces, many of which were preserved by putty that immigration officials plastered, ironically, to erase the detainees’ efforts. The inscriptions—desperately chronicling heartbreak with a certain visceral immediacy—serve as a remarkable testimony of a Chinese immigrant experience that has largely been forgotten along with the larger history of Angel Island’s immigration station.\u003c/p>\n\u003cp>In \u003cem>Wild Geese Sorrow\u003c/em>, Leong compiles 70 of the 200 or so identifiable poems written on the walls, including both the original text and his own translations.\u003c/p>\n\u003cfigure id=\"attachment_13850550\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850550\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2-800x1199.jpg\" alt=\"Jeffrey Thomas Long's 'Wild Geese Sorrow: The Chinese Wall Inscriptions at Angel Island.'\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Wild-Geese-Sorrow-Front-Cover-2-768x1151.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Thomas Long’s ‘Wild Geese Sorrow: The Chinese Wall Inscriptions at Angel Island.’\u003c/figcaption>\u003c/figure>\n\u003cp>Between 1910 and 1940, when the immigration station was active, the Chinese Exclusion Act was still in effect. It was the first U.S. law of its kind, banning immigrants of Chinese descent. At Angel Island, some 175,000 Chinese immigrants were processed as officials attempted to detect “paper sons” hoping to circumvent the racist law by fabricating relations to American-settled relatives. Few were ultimately deported, but countless were interrogated and detained indefinitely in wooden barracks.\u003c/p>\n\u003cp>Why is this history so seldom discussed? “There’s still that kind of attitude about Asian history not [being] as important as European history,” Leong says. The harsh realities of immigration were additionally kept quiet within families themselves, much like in Leong’s own, due to the “level of silence around the trauma of that experience,” he adds. “There is a lot that’s unknown and will never be known, especially because that generation, many have passed on and there are few remaining. Those stories are very precious.”\u003c/p>\n\u003cp>The detainees wrote mostly anonymously, describing hopeless despair, desperate financial circumstances and the injustice of American “barbarians.” Some engravings are deeply poetic in their literary imagery. Some are cruder expressions of anxiety and personal history. Others include cutting revelations about migration, such as this poem: “Since ancient times, leaving home results / in worthless change. / From expeditions, how many men ever return?” Another reads: “I am born unlucky, of Chinese descent, / So I must endure humiliation and contain hatred…”\u003c/p>\n\u003cfigure id=\"attachment_13850561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850561\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/PICT4423a-800x450.jpg\" alt=\"Jeffrey Thomas Leong translated about 70 of the 200 legible poems engraved by immigrant detainees at Angel Island. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4423a.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Thomas Leong translated about 70 of the 200 legible poems engraved by immigrant detainees at Angel Island. \u003ccite>(Jeffrey Thomas Leong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These messages from the past, of course, feel deeply pertinent to the country’s \u003ca href=\"https://www.kqed.org/news/11712226/almost-15000-migrant-children-now-held-at-nearly-full-shelters\" target=\"_blank\" rel=\"noopener\">current political and cultural battle\u003c/a> surrounding immigration, though Leong says he could never have imagined contemporary U.S. policies hewing so closely to the island’s history.\u003c/p>\n\u003cp>“People ask me in readings, during Q&A—did they separate the children from their parents at Angel Island?” Leong says. “Because of what’s going on now, that’s a logical question. And I tell them, the answer is no. At Angel Island, young children went with the mothers, and the teenage boys had to go into the men’s barracks.”\u003c/p>\n\u003cp>The Trump administration’s recent family separations at the border are startling, but also only the continuation of an age-old reality. “Human beings who are put in a situation where they’re held against their will and have no idea what their fate will be is something as old as Angel Island and obviously older in human history,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13850563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/PICT4351-800x450.jpg\" alt=\"Engraved poetry at Angel Island.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/PICT4351.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Engraved poetry at Angel Island \u003ccite>(Jeffrey Thomas Leong)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet \u003cem>Wild Geese Sorrow\u003c/em> does not stand solely as a relevant history lesson or as a remembrance of dehumanization and injustice. While the poems were carved in tragedy, they represent, for many detainees, the early memories of what often became a new life in America. Their words are a record of an immigrant community’s origins, rooted in perseverance in the face of daunting circumstances.\u003c/p>\n\u003cp>“The ultimate story I have to remind people: 95% of the people were able to land after their appeals and so on. Only about about 5% were deported. They are my parents, they are the forerunners of the Chinese American community,” Leong says. “They raised families and were successful, hard working people for the most part. That’s something to be proud of.”\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>\u003cem>Jeffrey Thomas Leong reads from Wild Geese Sorrow at Green Apple Books on Feb. 12. Details \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-jeffrey-leong-chinese-wall-inscriptions-angel-island\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Complete Play-by-Play of the 2019 Grammy Awards",
"headTitle": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"content": "\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[contextly_sidebar id=”NOsRsKhC4dv9SK8p8eDhnDdOqxRkohH3″]\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. [contextly_sidebar id=”aegPM1aJbUGHg4rZKoumubHB9GeydshH”]\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. [contextly_sidebar id=”PG9gW2jdmBWy0PpW48bRxfJQiBjMY5BC”]\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The complete list of Bay Area winners at the 61st Grammy Awards. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "2019 Grammy Awards: Predictions And Considerations",
"headTitle": "2019 Grammy Awards: Predictions And Considerations | KQED",
"content": "\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>[contextly_sidebar id=”7eUtSw3O3ZIIvJQn4I0q51c5u0YGVq7R”]\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Winners of this year’s Grammy Awards will be announced Sunday, Feb. 10. It’s been a year since outrage erupted in the music business after Neil Portnow, president and CEO of the Recording Academy, the organization which gives out the Grammys, said in an interview that women should \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> if they wanted to be recognized in the music industry.\u003c/p>\n\u003cp>In the days and weeks that followed, there was a \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/09/584506881/music-industry-men-join-cry-to-change-the-recording-academy\">volley\u003c/a> of calls for Portnow’s resignation, and for changes in the Grammy process. But gender inequality issues in the music business go far beyond one awards show.\u003c/p>\n\u003cp>The road to this year’s Grammy Awards show has been bumpy. On Thursday, pop star \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\">Ariana Grande\u003c/a>, who’s up for two awards — announced on \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627013762506752\">Twitter\u003c/a> that she won’t even attend the ceremony. She’d been slated to perform — but the show’s producers reportedly insisted that they would choose her set list. She wanted to make the decision. The show’s producer, Ken Ehrlich, reportedly told the AP on Thursday that the singer “felt it was \u003ca href=\"https://www.apnews.com/404b3a97ff434d919be6efc0e95fe859\">too late\u003c/a> for her to pull something together.”\u003c/p>\n\u003cp>Grande quickly fired back, accusing Ehrlich of \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627215600734208\">lying\u003c/a>. In a series of tweets, she wrote: “i can pull together a performance over night and you know that, Ken. it was when my creativity & self expression was stifled by you, that i decided not to attend… i \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627572598988800\">offered\u003c/a> 3 different songs.”\u003c/p>\n\u003cp>The Grande situation echoes a similar situation last year, when \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, who was the one female nominee for Album of the Year, was not allowed to perform solo. That was one of the catalysts that led to Neil Portnow’s “step up” comments. Portnow, who has headed the Recording Academy since 2002, \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/615889769/grammy-president-neil-portnow-to-step-down-in-2019\">announced\u003c/a> last May that he will be stepping down this July when his contract expires; he declined NPR’s request for an interview.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”t8etDcRbbLTJXHKZNhPcwnJgySNqGQo6″]\u003c/p>\n\u003cp>Melinda Newman, West Coast editor of \u003cem>Billboard\u003c/em>, says that the Recording Academy is just part of a larger issue. “They don’t have any jurisdiction,” Newman observes. “They don’t put out content. They don’t make records themselves. So in some ways, a lot of the hue and cry that we’re seeing from Neil Portnow’s remarks really are reflective of just the general music industry and the lack of diversity in the general music industry.”\u003c/p>\n\u003cp>The numbers bear Newman’s argument out: Women are missing in popular music.\u003c/p>\n\u003cp>“They only represent about 21 percent of all artists,” notes Stacy L. Smith, the founder and director of the \u003ca href=\"https://annenberg.usc.edu/research/aii\">Annenberg Inclusion Initiative\u003c/a> at the University of Southern California. Earlier this week, her team released its \u003ca href=\"http://assets.uscannenberg.org/docs/aii-inclusion-recording-studio-2019.pdf\">second annual report\u003c/a> about the percentage of women working in the music industry, based on the Billboard Hot 100.\u003c/p>\n\u003cp>“Twenty three percent of the 700 songs in our sample had one of 10 male songwriters attached to them,” Smith continues. “So, culturally we’re allowing 10 men to set the norms — that really doesn’t represent the world that we live in.”\u003c/p>\n\u003cp>Smith says that lack of women’s voices really shapes pop music. “It directly translates to what is being told or communicated to audiences,” she continues, “about norms, about lived experiences — and we’re seeing females shut out from this process.”\u003c/p>\n\u003cp>Since the Annenberg researchers released its initial report last year, not much has changed in terms of the numbers of women working in the music business; Smith calls this year’s findings a “rinse and repeat” of the team’s 2018 report.\u003c/p>\n\u003cp>Katherine Pieper, another Annenberg researcher, says the group also interviewed women about working in music as part of its 2019 report. She notes that this same team has also studied the film business — an industry that has had some of its \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo \u003c/a>and gender disparity issues quite publicly aired.\u003c/p>\n\u003cp>“We interviewed both female directors and executives in the film industry who were knowledgeable about the process of hiring female directors,” Pieper says. “We asked them some similar questions about the barriers facing female directors, and why there were so few women working behind the camera. And the answers that we heard there were very different. We heard a lot about the need to finance a film, and the difficulty that women had getting the resources to make their movies. We heard about women’s ambition, and the difficulty of networking.”\u003c/p>\n\u003cp>Pieper says that the music business is faring much worse than Hollywood.\u003c/p>\n\u003cp>“In this study of the music industry,” Pieper continues, “we heard much more about the lack of attention paid to women’s contributions and the way that they were treated in the studio. This was a very different set of barriers. They were hit on. They were the object of innuendo, they felt personally unsafe in certain situations. Oftentimes, their contributions were ignored, or not acknowledged — even dismissed by the people they were working with.”\u003c/p>\n\u003cp>[contextly_sidebar id=”yxpgSCGyiC4nabq0crlkOFAA7UG9opqV”]\u003c/p>\n\u003cp>The Grammy organization is hoping that it can emerge from last year’s condemnations as a leader. \u003ca href=\"https://buckleyfirm.com/people/tina-tchen\">Tina Tchen\u003c/a> is a co-founder of the Time’s Up Legal Defense Fund and was Michelle Obama’s chief of staff. Last spring, the Recording Academy asked Tchen to \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">lead its new task force\u003c/a> for inclusion and diversity.\u003c/p>\n\u003cp>Tchen is well aware that the music industry stats for women are abysmal.\u003c/p>\n\u003cp>“Of producers in the music industry, only two percent are women,” she says. “Of engineers in the music industry, only three percent are women. It’s the 21st Century, and we’re talking about in these key roles in the music industry.”\u003c/p>\n\u003cp>So, earlier this month, the Recording Academy announced a new program: It’s asking any business or individual who hires record producers or engineers to consider at least two women for any project. The initiative already has over 300 signatories; artists who have pledged to participate include Cardi B, Post Malone, Pharrell Williams … and Ariana Grande.\u003c/p>\n\u003cp>“We thought this was an important first step,” Tchen says. “Through this initiative, we really gave everybody something to do that’s really concrete, and is really going to make a difference.”\u003c/p>\n\u003cp>And though it’s a start, Tchen says, bigger shifts are going to much more time to achieve.\u003c/p>\n\u003cp>“We have taken decades, if not millennia, to get in this position with respect to how women advance in our broader culture, not just in this industry,” Tchen notes. “So it’s going to take us a lot more than one year to solve this issue.”\u003c/p>\n\u003cp>The Recording Academy has taken certain other concrete steps to repair the Grammy Awards as well, including attempting to expand the \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">diversity of its membership\u003c/a> and taking the number of possible nominees in its top four categories — Album of the Year, Record of the Year, Song of the Year and Best New Artist — from five to eight slots.\u003c/p>\n\u003cp>That last move has already paid dividends: five out of the eight nominees who could win Album of the Year on Sunday are \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">women\u003c/a>, and female artists also form the majority of nominees in the Best New Artist category.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692671099/692823703\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Winners of this year’s Grammy Awards will be announced Sunday, Feb. 10. It’s been a year since outrage erupted in the music business after Neil Portnow, president and CEO of the Recording Academy, the organization which gives out the Grammys, said in an interview that women should \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> if they wanted to be recognized in the music industry.\u003c/p>\n\u003cp>In the days and weeks that followed, there was a \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/09/584506881/music-industry-men-join-cry-to-change-the-recording-academy\">volley\u003c/a> of calls for Portnow’s resignation, and for changes in the Grammy process. But gender inequality issues in the music business go far beyond one awards show.\u003c/p>\n\u003cp>The road to this year’s Grammy Awards show has been bumpy. On Thursday, pop star \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\">Ariana Grande\u003c/a>, who’s up for two awards — announced on \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627013762506752\">Twitter\u003c/a> that she won’t even attend the ceremony. She’d been slated to perform — but the show’s producers reportedly insisted that they would choose her set list. She wanted to make the decision. The show’s producer, Ken Ehrlich, reportedly told the AP on Thursday that the singer “felt it was \u003ca href=\"https://www.apnews.com/404b3a97ff434d919be6efc0e95fe859\">too late\u003c/a> for her to pull something together.”\u003c/p>\n\u003cp>Grande quickly fired back, accusing Ehrlich of \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627215600734208\">lying\u003c/a>. In a series of tweets, she wrote: “i can pull together a performance over night and you know that, Ken. it was when my creativity & self expression was stifled by you, that i decided not to attend… i \u003ca href=\"https://twitter.com/ArianaGrande/status/1093627572598988800\">offered\u003c/a> 3 different songs.”\u003c/p>\n\u003cp>The Grande situation echoes a similar situation last year, when \u003ca href=\"https://www.npr.org/artists/227790178/lorde\">Lorde\u003c/a>, who was the one female nominee for Album of the Year, was not allowed to perform solo. That was one of the catalysts that led to Neil Portnow’s “step up” comments. Portnow, who has headed the Recording Academy since 2002, \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/615889769/grammy-president-neil-portnow-to-step-down-in-2019\">announced\u003c/a> last May that he will be stepping down this July when his contract expires; he declined NPR’s request for an interview.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Melinda Newman, West Coast editor of \u003cem>Billboard\u003c/em>, says that the Recording Academy is just part of a larger issue. “They don’t have any jurisdiction,” Newman observes. “They don’t put out content. They don’t make records themselves. So in some ways, a lot of the hue and cry that we’re seeing from Neil Portnow’s remarks really are reflective of just the general music industry and the lack of diversity in the general music industry.”\u003c/p>\n\u003cp>The numbers bear Newman’s argument out: Women are missing in popular music.\u003c/p>\n\u003cp>“They only represent about 21 percent of all artists,” notes Stacy L. Smith, the founder and director of the \u003ca href=\"https://annenberg.usc.edu/research/aii\">Annenberg Inclusion Initiative\u003c/a> at the University of Southern California. Earlier this week, her team released its \u003ca href=\"http://assets.uscannenberg.org/docs/aii-inclusion-recording-studio-2019.pdf\">second annual report\u003c/a> about the percentage of women working in the music industry, based on the Billboard Hot 100.\u003c/p>\n\u003cp>“Twenty three percent of the 700 songs in our sample had one of 10 male songwriters attached to them,” Smith continues. “So, culturally we’re allowing 10 men to set the norms — that really doesn’t represent the world that we live in.”\u003c/p>\n\u003cp>Smith says that lack of women’s voices really shapes pop music. “It directly translates to what is being told or communicated to audiences,” she continues, “about norms, about lived experiences — and we’re seeing females shut out from this process.”\u003c/p>\n\u003cp>Since the Annenberg researchers released its initial report last year, not much has changed in terms of the numbers of women working in the music business; Smith calls this year’s findings a “rinse and repeat” of the team’s 2018 report.\u003c/p>\n\u003cp>Katherine Pieper, another Annenberg researcher, says the group also interviewed women about working in music as part of its 2019 report. She notes that this same team has also studied the film business — an industry that has had some of its \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo \u003c/a>and gender disparity issues quite publicly aired.\u003c/p>\n\u003cp>“We interviewed both female directors and executives in the film industry who were knowledgeable about the process of hiring female directors,” Pieper says. “We asked them some similar questions about the barriers facing female directors, and why there were so few women working behind the camera. And the answers that we heard there were very different. We heard a lot about the need to finance a film, and the difficulty that women had getting the resources to make their movies. We heard about women’s ambition, and the difficulty of networking.”\u003c/p>\n\u003cp>Pieper says that the music business is faring much worse than Hollywood.\u003c/p>\n\u003cp>“In this study of the music industry,” Pieper continues, “we heard much more about the lack of attention paid to women’s contributions and the way that they were treated in the studio. This was a very different set of barriers. They were hit on. They were the object of innuendo, they felt personally unsafe in certain situations. Oftentimes, their contributions were ignored, or not acknowledged — even dismissed by the people they were working with.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Grammy organization is hoping that it can emerge from last year’s condemnations as a leader. \u003ca href=\"https://buckleyfirm.com/people/tina-tchen\">Tina Tchen\u003c/a> is a co-founder of the Time’s Up Legal Defense Fund and was Michelle Obama’s chief of staff. Last spring, the Recording Academy asked Tchen to \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">lead its new task force\u003c/a> for inclusion and diversity.\u003c/p>\n\u003cp>Tchen is well aware that the music industry stats for women are abysmal.\u003c/p>\n\u003cp>“Of producers in the music industry, only two percent are women,” she says. “Of engineers in the music industry, only three percent are women. It’s the 21st Century, and we’re talking about in these key roles in the music industry.”\u003c/p>\n\u003cp>So, earlier this month, the Recording Academy announced a new program: It’s asking any business or individual who hires record producers or engineers to consider at least two women for any project. The initiative already has over 300 signatories; artists who have pledged to participate include Cardi B, Post Malone, Pharrell Williams … and Ariana Grande.\u003c/p>\n\u003cp>“We thought this was an important first step,” Tchen says. “Through this initiative, we really gave everybody something to do that’s really concrete, and is really going to make a difference.”\u003c/p>\n\u003cp>And though it’s a start, Tchen says, bigger shifts are going to much more time to achieve.\u003c/p>\n\u003cp>“We have taken decades, if not millennia, to get in this position with respect to how women advance in our broader culture, not just in this industry,” Tchen notes. “So it’s going to take us a lot more than one year to solve this issue.”\u003c/p>\n\u003cp>The Recording Academy has taken certain other concrete steps to repair the Grammy Awards as well, including attempting to expand the \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">diversity of its membership\u003c/a> and taking the number of possible nominees in its top four categories — Album of the Year, Record of the Year, Song of the Year and Best New Artist — from five to eight slots.\u003c/p>\n\u003cp>That last move has already paid dividends: five out of the eight nominees who could win Album of the Year on Sunday are \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">women\u003c/a>, and female artists also form the majority of nominees in the Best New Artist category.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility",
"headTitle": "Keak Da Sneak Prison Sentence Delayed; Other Options Remain a Possibility | KQED",
"content": "\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak Da Sneak has caught a break from prison—for now.\u003c/p>\n\u003cp>Keak da Sneak was scheduled to begin a prison sentence in California’s Amador County earlier today, Feb. 7. But at his hearing, Judge J.S. Hermanson granted the “Super Hyphy” rapper an additional 60 days due to his medical condition. His new sentencing date is April 11.\u003c/p>\n\u003cp>Last week, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that Keak Da Sneak, a longtime fixture in Bay Area hip-hop, awaited a 16-month sentence in California state prison for possession of a firearm is a convicted felon. In an exclusive interview, Keak, whose real name is Charles Kente Williams, said that though California law prohibits him from owning a gun due to his criminal record, he took it upon himself to carry one for protection after surviving a shooting in Oakland in January 2017.\u003c/p>\n\u003cp>The criminal case against Williams began in March 2017 after a police officer searched his car at a gas station in Amador County and found the gun. As the case was ongoing, Williams’ health took a drastic turn for the worse. In August of that year, he was the victim of another shooting in Richmond. The incident left him in critical condition, and he now uses a wheelchair full-time, as well as a catheter and colostomy bag. A nurse comes to his house three times a week to clean his bed sores, which can lead to a dangerous infection if not cared for properly. [contextly_sidebar id=”YIUAUZvMN0J60n2f0nipIYPh9CJhf2QY”]\u003c/p>\n\u003cp>Because of the severity of his medical condition, Williams is lobbying for an alternative sentence of house arrest instead of prison time. According to disability rights experts, not all California state prisons are ADA accessible, and even fewer can accommodate an inmate who requires regular medical care for a chronic condition. The California Department of Corrections and Rehabilitation’s medical system has been \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">under federal oversight\u003c/a> since 2006, when a federal court ruled it unconstitutionally inadequate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Am I gonna get the treatment I’m getting out here? I don’t think so,” Williams said last week. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>After KQED broke the story, popular hip-hop publications like \u003cem>Vibe\u003c/em> and \u003cem>XXL\u003c/em> as well as several TV news stations helped draw national attention to Williams’ case. Prominent activists like Shaun King retweeted KQED’s story, and Bay Area rap stars like \u003ca href=\"https://twitter.com/E40/status/1091456244961820672\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BtUH5YThFMx/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B.\u003c/a> shared their support on social media. A \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> asking for alternative sentencing has over 43,491 signatures and counting.\u003c/p>\n\u003cp>In a phone call, Williams’ manager Chris Thomas said that the extensive media coverage as well as testimony from Williams’ doctor helped sway the judge’s decision. Thomas sees the 60-day extension as a positive sign, but says that Williams’ legal team will continue to fight for alternative sentencing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing. We’ll update it when we learn more. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg\" alt=\"Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities.\" width=\"800\" height=\"1197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IMG_5205.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Keak Da Sneak says that California correctional facilities have little compassion for inmates with disabilities. \u003ccite>(Joel Galvan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area rap star Keak Da Sneak has caught a break from prison—for now.\u003c/p>\n\u003cp>Keak da Sneak was scheduled to begin a prison sentence in California’s Amador County earlier today, Feb. 7. But at his hearing, Judge J.S. Hermanson granted the “Super Hyphy” rapper an additional 60 days due to his medical condition. His new sentencing date is April 11.\u003c/p>\n\u003cp>Last week, KQED \u003ca href=\"https://www.kqed.org/arts/13849409/keak-da-sneak-heads-to-prison-no-compassion-for-disabilities-he-says\" target=\"_blank\" rel=\"noopener\">first reported\u003c/a> that Keak Da Sneak, a longtime fixture in Bay Area hip-hop, awaited a 16-month sentence in California state prison for possession of a firearm is a convicted felon. In an exclusive interview, Keak, whose real name is Charles Kente Williams, said that though California law prohibits him from owning a gun due to his criminal record, he took it upon himself to carry one for protection after surviving a shooting in Oakland in January 2017.\u003c/p>\n\u003cp>The criminal case against Williams began in March 2017 after a police officer searched his car at a gas station in Amador County and found the gun. As the case was ongoing, Williams’ health took a drastic turn for the worse. In August of that year, he was the victim of another shooting in Richmond. The incident left him in critical condition, and he now uses a wheelchair full-time, as well as a catheter and colostomy bag. A nurse comes to his house three times a week to clean his bed sores, which can lead to a dangerous infection if not cared for properly. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Because of the severity of his medical condition, Williams is lobbying for an alternative sentence of house arrest instead of prison time. According to disability rights experts, not all California state prisons are ADA accessible, and even fewer can accommodate an inmate who requires regular medical care for a chronic condition. The California Department of Corrections and Rehabilitation’s medical system has been \u003ca href=\"https://en.wikipedia.org/wiki/Plata_v._Schwarzenegger\" target=\"_blank\" rel=\"noopener\">under federal oversight\u003c/a> since 2006, when a federal court ruled it unconstitutionally inadequate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Am I gonna get the treatment I’m getting out here? I don’t think so,” Williams said last week. “I’ve been to jail with people who were sick and really doing bad, and the guards and deputies didn’t care about them at all. They came and beat on them because they were pushing the button like, ‘I need help, I need help.'”\u003c/p>\n\u003cp>After KQED broke the story, popular hip-hop publications like \u003cem>Vibe\u003c/em> and \u003cem>XXL\u003c/em> as well as several TV news stations helped draw national attention to Williams’ case. Prominent activists like Shaun King retweeted KQED’s story, and Bay Area rap stars like \u003ca href=\"https://twitter.com/E40/status/1091456244961820672\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> and \u003ca href=\"https://www.instagram.com/p/BtUH5YThFMx/\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B.\u003c/a> shared their support on social media. A \u003ca href=\"https://www.change.org/p/alternative-sentencing-instead-of-prison-for-disabled-rapper-keak-da-sneak\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> asking for alternative sentencing has over 43,491 signatures and counting.\u003c/p>\n\u003cp>In a phone call, Williams’ manager Chris Thomas said that the extensive media coverage as well as testimony from Williams’ doctor helped sway the judge’s decision. Thomas sees the 60-day extension as a positive sign, but says that Williams’ legal team will continue to fight for alternative sentencing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing. We’ll update it when we learn more. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=4tLhstodpFI]\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Does Netflix—and for that matter, Amazon, Apple, Hulu, Vimeo and YouTube—have a duty to fact-check the documentaries they broadcast? It’s a question worth asking as a \u003ca href=\"https://www.theguardian.com/society/2019/feb/04/root-cause-documentary-netflix-dentists\" target=\"_blank\" rel=\"noopener\">controversy\u003c/a> surfaces over one such 2018 film, \u003ca href=\"https://rootcausemovie.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Root Cause\u003c/em>\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>In the documentary, Australian filmmaker \u003ca href=\"http://www.playtv.com.au/about-playtv/\" target=\"_blank\" rel=\"noopener\">Frazer Bailey\u003c/a> links \u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> root canal procedure he received as a young man to later health problems like fatigue and depression. After exploring a host of New Age approaches to medicine, he talks to several dentists who agree that bacterial infections in the mouth caused by root canals lead to diseases elsewhere in the body: mental disease, heart disease, even arthritis. “The mouth is the toxic waste dump that’s impacting on the rest of the body,” says \u003ca href=\"http://www.icnr.com/about.html\" target=\"_blank\" rel=\"noopener\">Dr. Gerald H. Smith, DDS, DNM\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three major dentistry associations \u003c/span>\u003cspan style=\"font-weight: 400\">disagree: the \u003ca href=\"https://www.ada.org/en\" target=\"_blank\" rel=\"noopener\">American Dental Association\u003c/a>, \u003ca href=\"https://www.aae.org\" target=\"_blank\" rel=\"noopener\">American Association of Endodontists\u003c/a> and \u003ca href=\"http://www.iadr.org/AADR\" target=\"_blank\" rel=\"noopener\">American Association of Dental Research\u003c/a>. They\u003c/span>\u003cspan style=\"font-weight: 400\"> sent Netflix a private letter requesting that it drop the film. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A spokeswoman for the AAE declined to share the letter, but she did write:\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">The people in this movie are spreading misinformation and confusion about root canal treatment that is misleading and harmful to the consumer public. Their premise is based on junk science and faulty testing conducted more than 100 years ago that was debunked in the 1950s, continuously since then, and is even more discredited today by physicians, dentists and academics. Mainstream medical and dental communities overwhelmingly agree that root canal treatment is safe, effective and eliminates pain.\u003cbr>\n\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the trailer:\u003c/p>\n\u003cp>\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/4tLhstodpFI'\n title='//www.youtube.com/embed/4tLhstodpFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Netflix declined to comment for this story.\u003c/p>\n\u003cp>\u003ca href=\"https://www.blockandtackle.biz/home\" target=\"_blank\" rel=\"noopener\">Alex Ben Block\u003c/a> writes about the business of entertainment for a variety of outlets. He says most of the documentaries he watches on Netflix are “benign.” On the other hand, he says, programmers of content are “looking for provocative topics.”\u003c/p>\n\u003cp>Like a number of its competitors, Netflix began as a distribution platform, but increasingly hosts original films and shows that it finances, produces, or both. One of its most recent partnerships is an upcoming series on health and well-being from \u003ca href=\"https://goop.com\" target=\"_blank\" rel=\"noopener\">Goop\u003c/a>. Gwyneth Paltrow’s media empire has come under fire for promoting dubious health products, most notoriously the \u003ca href=\"https://www.washingtonpost.com/health/2018/09/05/gwyneth-paltrows-goop-touted-benefits-putting-jade-egg-your-vagina-now-it-must-pay/\" target=\"_blank\" rel=\"noopener\">jade egg\u003c/a>, an egg-shaped jade or quartz stone Goop promised could help with hormone levels and bladder control if inserted into one’s vagina.\u003c/p>\n\u003cp>Whether any health tips as far-fetched as the jade egg make it into Paltrow’s Netflix series remains to be seen. But Block says it should be a concern. “Any time you’re a powerful service seen by so many people, you really have a major social responsibility to present things that are accurate,” he says—even more so than content procured from the outside, as was the case with \u003cem>Root Cause\u003c/em>.\u003c/p>\n\u003cp>Then again, Block adds, “the viewer has some responsibility, too, to not just believe whatever they see.”\u003c/p>\n\u003cfigure id=\"attachment_13850317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg\" alt=\"When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about 'Root Cause,' she wrote, 'Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don't think there is science to back it up.'\" width=\"800\" height=\"370\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-800x370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1020x472.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut-1200x555.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35168_Screen-Shot-2019-02-06-at-11.11.18-AM-qut.jpg 1626w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When I asked my dentist, Rebecca Armel, DDS, in San Francisco, about ‘Root Cause,’ she wrote, ‘Dentists as a whole think this idea is cuckoo. However, I have heard this theory before and I can understand some of the logic. Unfortunately, I don’t think there is science to back it up.’ \u003ccite>(Courtesy of 'Root Cause')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The quality and the veritability of everything [on the Internet] is all over the spectrum,” says \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://journalism.missouri.edu/staff/stacey-woelfel/\" target=\"_blank\" rel=\"noopener\">Stacey Woelfel\u003c/a>, who directs the documentary center at the \u003ca href=\"https://journalism.missouri.edu/programs/undergraduate/junior-senior/areas-study__trashed/documentary-journalism/\" target=\"_blank\" rel=\"noopener\">Missouri School of Journalism.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel says many documentaries are more personal and engaging than factual. He suggests we consider this question through the lens of politics: do we want Netflix and other streaming platforms censoring, say, the lefty firebrand \u003ca href=\"https://michaelmoore.com\" target=\"_blank\" rel=\"noopener\">Michael Moore\u003c/a>? Or his counterpoint on the right, \u003ca href=\"https://www.dineshdsouza.com\" target=\"_blank\" rel=\"noopener\">Dinesh D’Souza\u003c/a>? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Woelfel would much rather we do our own homework. “There’s no way for a consumer to decide without doing a little bit of research herself.” \u003c/span>\u003c/p>\n\u003cp>That means researching with credible sources. Pro tip: don’t go looking for medical advice on YouTube or Facebook.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Reid's Records, Berkeley Gospel Mainstay, to Close After 75 Years",
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"content": "\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”lCEwS3PBLnlGyiWfQ4VZBFKIhDgVl3VG”]\u003c/p>\n\u003cp>The business struggled in the late 1970s, with Mel resorting to selling items such as posters and water pipes. Betty, who’d by then remarried, returned to run the store. By the 1980s, she refocused the selection on gospel, even making the news for refusing to stock hip-hop.\u003c/p>\n\u003cp>Diara has run the shop since the 1990s. In recent years she presented gospel concerts in Richmond, but found a much cooler reception than her father did in the 1950s. “The African-American community we served for 75 years doesn’t exist here anymore,” she told Berkeleyside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mel died in 1988. Betty Reid Soskin, 97, is today \u003ca href=\"https://www.kqed.org/forum/201506101000/americas-oldest-park-ranger-brings-history-to-life-at-richmonds-rosie-the-riveter-park\">known\u003c/a> as the country’s oldest Park Ranger. Last year she published a memoir, \u003cem>Sign My Name to Freedom\u003c/em>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Slim’s, Great American Music Hall Workers Axed as Goldenvoice Expands",
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"content": "\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. [contextly_sidebar id=”M02WlLvasLOY4Nr5liulnoTByM8DUWqb”]\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” [contextly_sidebar id=”PK16JBKPiZNgDb9e5ewQLNLkdKFK9QEA”]\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1988, Bill Graham’s former assistant Queenie Taylor hired Tanya Pinkerton to help publicize events and distribute concert listings for a new venue called Slim’s. In 2000, when Slim’s acquired the Great American Music Hall, Pinkerton gladly added the historic venue to her client list.\u003c/p>\n\u003cp>But a year after Slim’s and the Great American Music Hall inked a booking agreement with corporate promoter Goldenvoice, Pinkerton was recently told her work is redundant.\u003c/p>\n\u003cp>She was let go in January, shortly after manager Dana Smith and promoter Tracey Buck were also laid off. Goldenvoice, Pinkerton was told by email, already had concert listings covered. “What’s funny is, after 30 years I decided to increase my price, by about $15 a month,” she said. “So finally I got the chutzpah to ask for a raise, and I was fired instead.”\u003c/p>\n\u003cp>The layoffs came one year after Slim’s and GAMH, for years considered two of the city’s flagship independent venues, \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\" target=\"_blank\" rel=\"noopener\">outsourced booking\u003c/a> to Goldenvoice, the Coachella promoter that, like competitor Live Nation, has dramatically expanded in the Bay Area. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Based in Los Angeles, Goldenvoice first entered San Francisco when it \u003ca href=\"https://www.sfgate.com/bayarea/article/Battle-of-the-Bay-Area-concert-promoters-3278473.php\" target=\"_blank\" rel=\"noopener\">took over\u003c/a> the Warfield and the Regency Ballroom in 2008. Last year, it launched the Blurry Vision music festival in Oakland. Recently the company also announced a concert series at Stanford University’s Frost Amphitheater. With Slim’s and GAMH, Goldenvoice now runs concert promotions at every level—from a small club to a large festival—in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company is not without controversy. AEG, Goldenvoice’s parent company, is owned by Philip Anschutz, a multibillionaire conservative philanthropist with \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\" target=\"_blank\" rel=\"noopener\">an anti-LGBTQ record\u003c/a>. Corporate saturation of the local concert market is also detrimental, critics say, to a healthy local scene of independent venues and promoters, as well as local bands and fans.\u003c/p>\n\u003cp>Jamie Zawinski, the owner of Slim’s neighbor DNA Lounge, is among the local music industry figures sounding the alarm about Goldenvoice and Live Nation. In response to the Slim’s and GAMH partnership, he wrote a \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">widely shared blog post\u003c/a> arguing that the companies’ expansive concert and ticketing holdings are monopolistic and “bad for our culture as a whole.”\u003c/p>\n\u003cfigure id=\"attachment_13846954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg\" alt=\"Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/JamieZ.dna_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters’ expansion in San Francisco. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pinkerton likened her relationship with Slim’s and GAMH workers to a familial bond, calling them friends and a steady source of referrals. It was a tight-knit operation that \u003ca href=\"http://www.ampthemag.com/the-real/dawn-holliday-im-not-retiring-im-resisting/\" target=\"_blank\" rel=\"noopener\">until 2017\u003c/a> was overseen by talent buyer Dawn Holliday, who last year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707&showFullText=true\">called\u003c/a> the Goldenvoice partnership a “great source of sadness.”\u003c/p>\n\u003cp>Since Goldenvoice took over the calendars, venue management left its SoMa office. Anthony Bedard, the junior talent buyer and longtime Hemlock Tavern booker, was let go early last year. The most recent layoffs, according to Pinkerton, reflect Goldenvoice’s regional workers taking on more promotions and marketing duties for the venues.\u003c/p>\n\u003cp>Pinkerton said Buck and Smith, who declined to be interviewed, were laid off Monday, Jan. 7, and cleared out that day. The next Tuesday, Pinkerton received an email from Kent Jamieson, the venues’ new general manager, saying the partnership with Goldenvoice made her company, Bay Area Entertainment Listings, a “redundancy.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was crappy,” she said. “After 30 years I would’ve liked to have been told in person.”\u003c/p>\n\u003cp>Jamieson declined to discuss the cutbacks, calling the layoffs “unfortunate decisions.” Previously the manager of long-running punk band NOFX, Jamieson said the venue owners, a group including Boz Scaggs, hired him last year. “I was brought on separate from Goldenvoice,” he said.\u003c/p>\n\u003cp>Scaggs, the famed musician and songwriter who founded Slim’s, appears to be stepping back from the venues himself. In a 2017 document he was listed as the sole director of his company, Big Billy Inc. But his name doesn’t appear on the corporation’s most recent statement of information, which lists directors Jamieson plus David Fortune and Alexander Levy.\u003c/p>\n\u003cp>Pinkerton said she still has plenty of clients, and added that losing Slim’s and GAMH gives her more time to spend with her husband during his second bout with cancer. She also stressed her sympathy for Buck and Harrison.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were professionals,” she said. “They were also warm and kind people, which is rare these days in the music business.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"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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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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