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"content": "\u003cp>In 1972, Sachiko Kanenobu had barely finished recording her first album when suddenly, she left Japan and moved to America.\u003c/p>\n\u003cp>The album, \u003cem>Misora\u003c/em>, was released in Japan with no concerts to promote it. It slipped into obscurity almost immediately. Kanenobu likens it a child that was abandoned.\u003c/p>\n\u003cp>“But later, the child wants to find out who its mother is,” Kanenobu says today, sitting in the kitchen of her small Sonoma County home. “\u003cem>Misora\u003c/em> keeps finding me, and comes to me.”\u003c/p>\n\u003cp>That reconnection may be due to the passionate following \u003cem>Misora\u003c/em> has obtained in the 47 years since its release. Original copies of the record regularly sell for $300–$400. She’s been asked to perform its blissful, yearning folk songs at sold-out concerts from California to New York. And last month, the tastemaking Seattle label Light in the Attic \u003ca href=\"https://lightintheattic.net/releases/4903-misora\" target=\"_blank\" rel=\"noopener\">reissued \u003cem>Misora\u003c/em>\u003c/a>, earning praise in the \u003cem>New York Times\u003c/em> and bringing Kanenobu’s folk masterpiece to a new generation of fans.\u003c/p>\n\u003cp>For Kanenobu, now 71, the sudden attention is welcome, if a bit disorienting.\u003c/p>\n\u003cfigure id=\"attachment_13862846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen backyard.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen backyard. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the East Coast, she performed at Central Park Summerstage with post-punk band Parquet Courts, and at the Brooklyn hipster bar Union Pool. On the West Coast, she’s set to \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">play at the Calico festival\u003c/a> in Point Reyes on Aug. 3, and open for indie veterans Yo La Tengo in Big Sur. And while Japanese folk music from the 1970s is in the zeitgeist, thanks to various reissue compilations and the new frontier of streaming, \u003cem>Misora\u003c/em> has an emotional impact that sets it apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a recent show in Los Angeles, she had an interaction typical of the sorts of fans who thought she’d disappeared.\u003c/p>\n\u003cp>“One of the DJs there,” she says, “he saw me, and he said, ‘I never thought I was going to meet you, and you’re still alive, and you’re able to play \u003cem>Misora\u003c/em>. That’s fantastic.’ And he started crying. \u003cem>Both\u003c/em> of us cried!”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I worked so hard struggling in the men’s world, and finally got a chance.’ \u003ccite>Sachiko Kanenobu\u003c/cite> \u003c/aside>\n\u003cp>Kanenobu has lived in this same small house since 1976, a modest cottage on a main street in Glen Ellen, with wood paneling in the kitchen and wicker furniture in the living room. On a nearby shelf, \u003cem>The International Bill of Human Rights\u003c/em> sits next to a photo of Ghandi. It’s a quiet place that she came upon circuitously: after flying from Japan to San Francisco, she and her fiancée, the late \u003cem>Crawdaddy\u003c/em> magazine editor \u003ca href=\"https://www.nytimes.com/2013/04/01/arts/music/paul-williams-father-of-rock-criticism-is-dead-at-64.html\" target=\"_blank\" rel=\"noopener\">Paul Williams\u003c/a>, often hitchhiked together while Kanenobu was pregnant. They moved to Seattle, then married in Boston before living in New York City.\u003c/p>\n\u003cp>Williams had befriended the science-fiction author Philip K. Dick, who suggested he and his wife move to Sonoma. On a visit, Williams’ car broke down in Glen Ellen in front of a real estate office.\u003c/p>\n\u003cp>“So he ran into that real estate office,” Kanenobu says, “and asked, ‘Are there any houses selling in this area?’ And they said, ‘That house across the street is for sale.'”\u003c/p>\n\u003cfigure id=\"attachment_13862882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg\" alt=\"Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R).\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1200x594.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R). \u003ccite>(Courtesy Sachiko Kanenobu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kanenobu has been here ever since. She and Williams divorced, and she raised her two kids. Dick remained a close friend, and when he first heard \u003cem>Misora\u003c/em>, he told her she needed to return to music.\u003c/p>\n\u003cp>“He told me, ‘You shouldn’t stop writing. You should go back to writing, because you have a gift,'” Kanenobu says. “He became my guiding angel. He produced a single with me, and then he wanted to produce an album.”\u003c/p>\n\u003cp>It hadn’t been easy for Kanenobu. She’d established herself in bands in Japan, but her Japanese label initially dismissed her solo material until Harumi Hosono, who later founded Yellow Magic Orchestra, came on as a producer for \u003cem>Misora\u003c/em>. Joni Mitchell had been an influence, as had British artists like Donovan and Pentangle, but \u003cem>Misora\u003c/em>‘s songs were singular, capturing Kanenobu’s distinct youthful innocence, her fascination with nature, and a longing for inner peace.\u003c/p>\n\u003cp>Dick died suddenly, before that second album was made, in 1982. Kanenobu followed the author’s advice, though, and eventually joined a modern rock band, Culture Shock, which recorded and toured in the late 1980s and early nineties. But \u003cem>Misora\u003c/em> kept calling.\u003c/p>\n\u003cp>“\u003cem>Misora\u003c/em> to me is my first child, and I worked so hard struggling in the men’s world, and finally got a chance, and I delivered the child,” she says. “But I had a real child in my body, and that’s the reason I decided to leave \u003cem>Misora\u003c/em> in Japan. So this child is really missing me. That’s what I feel.”\u003c/p>\n\u003cfigure id=\"attachment_13862843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen home, where she's lived since 1976.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen home, where she’s lived since 1976. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Kanenobu, the timing couldn’t be better. For years, she worked as a caretaker for IHSS, helping clients with dementia, diabetes or multiple sclerosis. She retired last month, the very day that \u003cem>Misora\u003c/em> was reissued. It was a coincidence, she says. Honest.\u003c/p>\n\u003cp>“I didn’t decide for it to be the same day, it just somehow became the same day,” she says. “See? \u003cem>Misora\u003c/em> is still controlling me!”\u003c/p>\n\u003cp>In retirement, Kanenobu hopes to concentrate on writing songs and performing as long as her voice and fingers can keep up. When I mention the complex fingerpicking on the album, and sing a portion of “\u003ca href=\"https://www.youtube.com/watch?v=dIrlgPhxvrk\" rel=\"noopener\" target=\"_blank\">Anata Kara Toku E\u003c/a>,” she lights up with recognition.\u003c/p>\n\u003cp>“You want to hear that one?” she asks, and then without waiting for an answer, begins strumming her 1964 Martin guitar—the same one she used in the recording of \u003cem>Misora\u003c/em>—and sings the song in its entirety for an audience of one. It’s just as spellbinding as it is on the album, and I begin to think that Kanenobu is right when she says that \u003cem>Misora\u003c/em> has a life of its own.\u003c/p>\n\u003cp>“She’s come back several times,” she says, as our visit winds down. “And I’m not doing anything, but \u003cem>Misora\u003c/em> is calling me, saying, ‘Come on Sachiko, wake up. Why don’t you play me? Play me.'”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sachiko Kanenobu performs as part of the Calico 2019 Festival in Point Reyes Station on Saturday, Aug. 3. \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Sachiko Kanenobu's 'Misora' has been a brilliant obscurity for 47 years. Now, at her home in Sonoma County, she discusses its long road to rediscovery.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1972, Sachiko Kanenobu had barely finished recording her first album when suddenly, she left Japan and moved to America.\u003c/p>\n\u003cp>The album, \u003cem>Misora\u003c/em>, was released in Japan with no concerts to promote it. It slipped into obscurity almost immediately. Kanenobu likens it a child that was abandoned.\u003c/p>\n\u003cp>“But later, the child wants to find out who its mother is,” Kanenobu says today, sitting in the kitchen of her small Sonoma County home. “\u003cem>Misora\u003c/em> keeps finding me, and comes to me.”\u003c/p>\n\u003cp>That reconnection may be due to the passionate following \u003cem>Misora\u003c/em> has obtained in the 47 years since its release. Original copies of the record regularly sell for $300–$400. She’s been asked to perform its blissful, yearning folk songs at sold-out concerts from California to New York. And last month, the tastemaking Seattle label Light in the Attic \u003ca href=\"https://lightintheattic.net/releases/4903-misora\" target=\"_blank\" rel=\"noopener\">reissued \u003cem>Misora\u003c/em>\u003c/a>, earning praise in the \u003cem>New York Times\u003c/em> and bringing Kanenobu’s folk masterpiece to a new generation of fans.\u003c/p>\n\u003cp>For Kanenobu, now 71, the sudden attention is welcome, if a bit disorienting.\u003c/p>\n\u003cfigure id=\"attachment_13862846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen backyard.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.Outdoors.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen backyard. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the East Coast, she performed at Central Park Summerstage with post-punk band Parquet Courts, and at the Brooklyn hipster bar Union Pool. On the West Coast, she’s set to \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">play at the Calico festival\u003c/a> in Point Reyes on Aug. 3, and open for indie veterans Yo La Tengo in Big Sur. And while Japanese folk music from the 1970s is in the zeitgeist, thanks to various reissue compilations and the new frontier of streaming, \u003cem>Misora\u003c/em> has an emotional impact that sets it apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a recent show in Los Angeles, she had an interaction typical of the sorts of fans who thought she’d disappeared.\u003c/p>\n\u003cp>“One of the DJs there,” she says, “he saw me, and he said, ‘I never thought I was going to meet you, and you’re still alive, and you’re able to play \u003cem>Misora\u003c/em>. That’s fantastic.’ And he started crying. \u003cem>Both\u003c/em> of us cried!”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘I worked so hard struggling in the men’s world, and finally got a chance.’ \u003ccite>Sachiko Kanenobu\u003c/cite> \u003c/aside>\n\u003cp>Kanenobu has lived in this same small house since 1976, a modest cottage on a main street in Glen Ellen, with wood paneling in the kitchen and wicker furniture in the living room. On a nearby shelf, \u003cem>The International Bill of Human Rights\u003c/em> sits next to a photo of Ghandi. It’s a quiet place that she came upon circuitously: after flying from Japan to San Francisco, she and her fiancée, the late \u003cem>Crawdaddy\u003c/em> magazine editor \u003ca href=\"https://www.nytimes.com/2013/04/01/arts/music/paul-williams-father-of-rock-criticism-is-dead-at-64.html\" target=\"_blank\" rel=\"noopener\">Paul Williams\u003c/a>, often hitchhiked together while Kanenobu was pregnant. They moved to Seattle, then married in Boston before living in New York City.\u003c/p>\n\u003cp>Williams had befriended the science-fiction author Philip K. Dick, who suggested he and his wife move to Sonoma. On a visit, Williams’ car broke down in Glen Ellen in front of a real estate office.\u003c/p>\n\u003cp>“So he ran into that real estate office,” Kanenobu says, “and asked, ‘Are there any houses selling in this area?’ And they said, ‘That house across the street is for sale.'”\u003c/p>\n\u003cfigure id=\"attachment_13862882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg\" alt=\"Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R).\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s-1200x594.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.1970s.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu with husband Paul Williams and her first child (L); Kanenobu performing in the 1970s (R). \u003ccite>(Courtesy Sachiko Kanenobu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kanenobu has been here ever since. She and Williams divorced, and she raised her two kids. Dick remained a close friend, and when he first heard \u003cem>Misora\u003c/em>, he told her she needed to return to music.\u003c/p>\n\u003cp>“He told me, ‘You shouldn’t stop writing. You should go back to writing, because you have a gift,'” Kanenobu says. “He became my guiding angel. He produced a single with me, and then he wanted to produce an album.”\u003c/p>\n\u003cp>It hadn’t been easy for Kanenobu. She’d established herself in bands in Japan, but her Japanese label initially dismissed her solo material until Harumi Hosono, who later founded Yellow Magic Orchestra, came on as a producer for \u003cem>Misora\u003c/em>. Joni Mitchell had been an influence, as had British artists like Donovan and Pentangle, but \u003cem>Misora\u003c/em>‘s songs were singular, capturing Kanenobu’s distinct youthful innocence, her fascination with nature, and a longing for inner peace.\u003c/p>\n\u003cp>Dick died suddenly, before that second album was made, in 1982. Kanenobu followed the author’s advice, though, and eventually joined a modern rock band, Culture Shock, which recorded and toured in the late 1980s and early nineties. But \u003cem>Misora\u003c/em> kept calling.\u003c/p>\n\u003cp>“\u003cem>Misora\u003c/em> to me is my first child, and I worked so hard struggling in the men’s world, and finally got a chance, and I delivered the child,” she says. “But I had a real child in my body, and that’s the reason I decided to leave \u003cem>Misora\u003c/em> in Japan. So this child is really missing me. That’s what I feel.”\u003c/p>\n\u003cfigure id=\"attachment_13862843\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg\" alt=\"Sachiko Kanenobu in her Glen Ellen home, where she's lived since 1976.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sachiko.MAIN_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sachiko Kanenobu in her Glen Ellen home, where she’s lived since 1976. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Kanenobu, the timing couldn’t be better. For years, she worked as a caretaker for IHSS, helping clients with dementia, diabetes or multiple sclerosis. She retired last month, the very day that \u003cem>Misora\u003c/em> was reissued. It was a coincidence, she says. Honest.\u003c/p>\n\u003cp>“I didn’t decide for it to be the same day, it just somehow became the same day,” she says. “See? \u003cem>Misora\u003c/em> is still controlling me!”\u003c/p>\n\u003cp>In retirement, Kanenobu hopes to concentrate on writing songs and performing as long as her voice and fingers can keep up. When I mention the complex fingerpicking on the album, and sing a portion of “\u003ca href=\"https://www.youtube.com/watch?v=dIrlgPhxvrk\" rel=\"noopener\" target=\"_blank\">Anata Kara Toku E\u003c/a>,” she lights up with recognition.\u003c/p>\n\u003cp>“You want to hear that one?” she asks, and then without waiting for an answer, begins strumming her 1964 Martin guitar—the same one she used in the recording of \u003cem>Misora\u003c/em>—and sings the song in its entirety for an audience of one. It’s just as spellbinding as it is on the album, and I begin to think that Kanenobu is right when she says that \u003cem>Misora\u003c/em> has a life of its own.\u003c/p>\n\u003cp>“She’s come back several times,” she says, as our visit winds down. “And I’m not doing anything, but \u003cem>Misora\u003c/em> is calling me, saying, ‘Come on Sachiko, wake up. Why don’t you play me? Play me.'”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sachiko Kanenobu performs as part of the Calico 2019 Festival in Point Reyes Station on Saturday, Aug. 3. \u003ca href=\"https://www.eventbrite.com/e/calico-2019-with-allah-las-more-love-field-pt-reyes-station-saturday-august-3-2019-tickets-61939846749\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "we-need-these-two-strava-running-artists-to-collaborate-immediately",
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"content": "\u003cp>Remember when \u003ca href=\"https://www.strava.com/\" target=\"_blank\" rel=\"noopener\">Strava\u003c/a> art was mostly shakily-drawn crude finger gestures and alarming penis renditions? Well, in recent months, the GPS-fueled mapping app for fitness fans has run a long way, baby, and turned into a clash of artistic titans.\u003c/p>\n\u003cp>Competition heated up a few weeks ago when San Francisco running enthusiast, \u003ca href=\"https://www.strava.com/athletes/7019519\" target=\"_blank\" rel=\"noopener\">Lenny Maughan\u003c/a> drew Frida Kahlo’s face during a 29-mile run. The final result—complete with earrings and unibrow—wowed everyone who saw it.\u003c/p>\n\u003cfigure id=\"attachment_13862663\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png\" alt=\"Lenny's 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories.\" width=\"579\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM-160x155.png 160w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">Lenny’s 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories. \u003ccite>(Strava.com/Lenny Maughan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then this week, another masterful, art-inspired run emerged, in the form of a Strava rendition of 17th-century painting, \u003cem>Girl with a Pearl Earring\u003c/em>. When one fan saw it on Reddit and commented “Lenny! You are the man, the myth and the legend,” I decided it was time to track him down and talk inspiration.\u003c/p>\n\u003cp>Lenny, it turns out, is a technology analyst by day, and has been treating the city like a canvas since March 2015, when he first drew a hand in the shape of \u003ca href=\"https://www.mapmyrun.com/workout/917537449\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Trek\u003c/em>‘s “live long and prosper” salute\u003c/a>. (A solid lesson in how to draw hands on Strava without the inclusion of obscene gestures.) Since then, he’s tackled everything from impressive animals (including a \u003ca href=\"https://www.strava.com/activities/1725333642\" target=\"_blank\" rel=\"noopener\">whale\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2135296063\" target=\"_blank\" rel=\"noopener\">pig\u003c/a> and \u003ca href=\"https://www.mapmyrun.com/workout/1956491213\" target=\"_blank\" rel=\"noopener\">cat\u003c/a>); fun food items (\u003ca href=\"https://www.strava.com/activities/1891050233\" target=\"_blank\" rel=\"noopener\">avocado\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2437821552\" target=\"_blank\" rel=\"noopener\">taco\u003c/a> and \u003ca href=\"https://www.strava.com/activities/942400921\" target=\"_blank\" rel=\"noopener\">coffee\u003c/a>) and states (like \u003ca href=\"http://www.mapmyrun.com/workout/1582129694\" target=\"_blank\" rel=\"noopener\">California\u003c/a> and \u003ca href=\"https://www.strava.com/activities/1159169554\" target=\"_blank\" rel=\"noopener\">Texas\u003c/a>).\u003c/p>\n\u003cp>“I’ve been a runner all my adult life,” Lenny told me. “I just like to run. There’s so much diversity in the running paths and the scenic vistas [of San Francisco]. It’s not really about speed or distance. It’s not about the miles, or the elevation. Frida is my magnum opus!”\u003c/p>\n\u003cp>“But what about your most recent work? The \u003cem>Girl with a Pearl Earring\u003c/em>?” I asked.\u003c/p>\n\u003cp>“Wait. No,” Lenny replied, confused.\u003c/p>\n\u003cp>“This!” I insisted.\u003c/p>\n\u003cfigure id=\"attachment_13862667\" class=\"wp-caption aligncenter\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862667 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png\" alt='\"The Girl With a Pearl Earring\" was 31 miles long and took 6 hours.' width=\"395\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM-160x170.png 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl with a Pearl Earring’ took 31 miles and just over 6 hours to complete. \u003ccite>(Reddit/runningfriar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s not me,” Lenny said, gazing upon the girl’s orange visage. “But I like his style!”\u003c/p>\n\u003cp>On closer inspection, and after a side-by-side with Lenny’s Frida, I realized the homage to the Johannes Vermeer classic was a totally different style—curvier and tighter in scale. (Lenny notes that he likes to “go big to make a shape fit the contours and constraints of the streets.”) I immediately needed to track down this \u003ci>second\u003c/i> human Etch A Sketch.\u003c/p>\n\u003cp>The artiste this time turned out to be 27-year-old Sunset resident \u003ca href=\"https://www.strava.com/athletes/3896184\" target=\"_blank\" rel=\"noopener\">Luke Rosenberger\u003c/a>, an elementary-school teacher who also serves and bartends “because it’s SF and I have rent to pay.” Does Luke ever sleep? Probably not, given that just a week before he spent 31 miles recreating \u003cem>Girl with a Pearl Earring\u003c/em>, he made a \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/cglim0/i_also_draw_in_sf_using_my_runs/\" target=\"_blank\" rel=\"noopener\">28-mile dragon\u003c/a>. Luke’s prior creations also include a de-corked champagne bottle in celebration of his girlfriend’s college graduation, and a massive teddy bear stretching from the Mission to the Presidio.\u003c/p>\n\u003cp>“My ability to run long distances gives me access to a special kind of pencil,” Luke told me. “I have always had a love for drawing and painting my whole life. Combining my creative outlet with the joy I get from running was a no-brainer. Moving to San Francisco four years ago turned my like of running into love. There are so many notable landmarks and great green spaces one can see during a single run.”\u003c/p>\n\u003cp>After speaking to both Lenny and Luke separately, I quickly realized just how much the two have in common. Not only do they share a similar skill-level when it comes to both art and running, they both named the Marin Headlands as a favorite running destination, and both confessed to enjoying the “hours” they spend planning their meticulous Strava maps.\u003c/p>\n\u003cfigure id=\"attachment_13862749\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg\" alt=\"Lenny (left) and Luke (right).\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lenny (left) and Luke (right). \u003ccite>(Courtesy of Lenny Maughan and Luke Rosenberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I shared this news with Lenny, he said, “I’d like to meet him! Maybe we could collaborate!” \u003c/p>\n\u003cp>Delightfully, Luke shared Lenny’s enthusiasm. “I would love to work on something with Lenny in the future!” he said. “I have a couple ideas that would combine San Francisco with the East Bay that could look pretty cool.”\u003c/p>\n\u003cp>Pretty cool, Luke? Epic, more like. Please make this happen, fellas. We’ll be right behind you! (Most likely in a car.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Lenny Maughan and Luke Rosenberger both use San Francisco as a canvas for their self-designed artistic marathons, and now we're rooting for them to do a massive project together.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember when \u003ca href=\"https://www.strava.com/\" target=\"_blank\" rel=\"noopener\">Strava\u003c/a> art was mostly shakily-drawn crude finger gestures and alarming penis renditions? Well, in recent months, the GPS-fueled mapping app for fitness fans has run a long way, baby, and turned into a clash of artistic titans.\u003c/p>\n\u003cp>Competition heated up a few weeks ago when San Francisco running enthusiast, \u003ca href=\"https://www.strava.com/athletes/7019519\" target=\"_blank\" rel=\"noopener\">Lenny Maughan\u003c/a> drew Frida Kahlo’s face during a 29-mile run. The final result—complete with earrings and unibrow—wowed everyone who saw it.\u003c/p>\n\u003cfigure id=\"attachment_13862663\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png\" alt=\"Lenny's 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories.\" width=\"579\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM-160x155.png 160w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">Lenny’s 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories. \u003ccite>(Strava.com/Lenny Maughan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then this week, another masterful, art-inspired run emerged, in the form of a Strava rendition of 17th-century painting, \u003cem>Girl with a Pearl Earring\u003c/em>. When one fan saw it on Reddit and commented “Lenny! You are the man, the myth and the legend,” I decided it was time to track him down and talk inspiration.\u003c/p>\n\u003cp>Lenny, it turns out, is a technology analyst by day, and has been treating the city like a canvas since March 2015, when he first drew a hand in the shape of \u003ca href=\"https://www.mapmyrun.com/workout/917537449\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Trek\u003c/em>‘s “live long and prosper” salute\u003c/a>. (A solid lesson in how to draw hands on Strava without the inclusion of obscene gestures.) Since then, he’s tackled everything from impressive animals (including a \u003ca href=\"https://www.strava.com/activities/1725333642\" target=\"_blank\" rel=\"noopener\">whale\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2135296063\" target=\"_blank\" rel=\"noopener\">pig\u003c/a> and \u003ca href=\"https://www.mapmyrun.com/workout/1956491213\" target=\"_blank\" rel=\"noopener\">cat\u003c/a>); fun food items (\u003ca href=\"https://www.strava.com/activities/1891050233\" target=\"_blank\" rel=\"noopener\">avocado\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2437821552\" target=\"_blank\" rel=\"noopener\">taco\u003c/a> and \u003ca href=\"https://www.strava.com/activities/942400921\" target=\"_blank\" rel=\"noopener\">coffee\u003c/a>) and states (like \u003ca href=\"http://www.mapmyrun.com/workout/1582129694\" target=\"_blank\" rel=\"noopener\">California\u003c/a> and \u003ca href=\"https://www.strava.com/activities/1159169554\" target=\"_blank\" rel=\"noopener\">Texas\u003c/a>).\u003c/p>\n\u003cp>“I’ve been a runner all my adult life,” Lenny told me. “I just like to run. There’s so much diversity in the running paths and the scenic vistas [of San Francisco]. It’s not really about speed or distance. It’s not about the miles, or the elevation. Frida is my magnum opus!”\u003c/p>\n\u003cp>“But what about your most recent work? The \u003cem>Girl with a Pearl Earring\u003c/em>?” I asked.\u003c/p>\n\u003cp>“Wait. No,” Lenny replied, confused.\u003c/p>\n\u003cp>“This!” I insisted.\u003c/p>\n\u003cfigure id=\"attachment_13862667\" class=\"wp-caption aligncenter\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862667 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png\" alt='\"The Girl With a Pearl Earring\" was 31 miles long and took 6 hours.' width=\"395\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM-160x170.png 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl with a Pearl Earring’ took 31 miles and just over 6 hours to complete. \u003ccite>(Reddit/runningfriar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s not me,” Lenny said, gazing upon the girl’s orange visage. “But I like his style!”\u003c/p>\n\u003cp>On closer inspection, and after a side-by-side with Lenny’s Frida, I realized the homage to the Johannes Vermeer classic was a totally different style—curvier and tighter in scale. (Lenny notes that he likes to “go big to make a shape fit the contours and constraints of the streets.”) I immediately needed to track down this \u003ci>second\u003c/i> human Etch A Sketch.\u003c/p>\n\u003cp>The artiste this time turned out to be 27-year-old Sunset resident \u003ca href=\"https://www.strava.com/athletes/3896184\" target=\"_blank\" rel=\"noopener\">Luke Rosenberger\u003c/a>, an elementary-school teacher who also serves and bartends “because it’s SF and I have rent to pay.” Does Luke ever sleep? Probably not, given that just a week before he spent 31 miles recreating \u003cem>Girl with a Pearl Earring\u003c/em>, he made a \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/cglim0/i_also_draw_in_sf_using_my_runs/\" target=\"_blank\" rel=\"noopener\">28-mile dragon\u003c/a>. Luke’s prior creations also include a de-corked champagne bottle in celebration of his girlfriend’s college graduation, and a massive teddy bear stretching from the Mission to the Presidio.\u003c/p>\n\u003cp>“My ability to run long distances gives me access to a special kind of pencil,” Luke told me. “I have always had a love for drawing and painting my whole life. Combining my creative outlet with the joy I get from running was a no-brainer. Moving to San Francisco four years ago turned my like of running into love. There are so many notable landmarks and great green spaces one can see during a single run.”\u003c/p>\n\u003cp>After speaking to both Lenny and Luke separately, I quickly realized just how much the two have in common. Not only do they share a similar skill-level when it comes to both art and running, they both named the Marin Headlands as a favorite running destination, and both confessed to enjoying the “hours” they spend planning their meticulous Strava maps.\u003c/p>\n\u003cfigure id=\"attachment_13862749\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg\" alt=\"Lenny (left) and Luke (right).\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lenny (left) and Luke (right). \u003ccite>(Courtesy of Lenny Maughan and Luke Rosenberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I shared this news with Lenny, he said, “I’d like to meet him! Maybe we could collaborate!” \u003c/p>\n\u003cp>Delightfully, Luke shared Lenny’s enthusiasm. “I would love to work on something with Lenny in the future!” he said. “I have a couple ideas that would combine San Francisco with the East Bay that could look pretty cool.”\u003c/p>\n\u003cp>Pretty cool, Luke? Epic, more like. Please make this happen, fellas. We’ll be right behind you! (Most likely in a car.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The fate of \u003ca href=\"https://www.treasureislandfestival.com/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> and other events slated at West Oakland’s Middle Harbor Shoreline Park is up in the air after the Bay Conservation and Development Commission (BCDC) sent a cease-and-desist order to the Port of Oakland, according to the BCDC’s enforcement committee.\u003c/p>\n\u003cp>The 40-acre park with views of the San Francisco skyline has become a popular destination for large-scale gatherings in recent years. It’s part of the Port of Oakland, and is overseen by the BCDC. Environmental watchdog groups say that festivals at the park, some of which attract tens of thousands of attendees, have noticeably harmed its terrain. [aside postid='arts_13843462']\u003c/p>\n\u003cp>“Even a month after [Treasure Island Music Festival], you could still see the damage that was done to the park’s landscape and sprinkler system,” Save the Bay Executive Director David Lewis told the \u003ca href=\"https://www.sfchronicle.com/bayarea/philmatier/article/Events-at-Oakland-shoreline-park-in-limbo-until-14270038.php?psid=fshxQ\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco\u003c/em> \u003cem>Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Furthermore, the Port of Oakland violated its agreement to obtain permission from the BCDC before closing the park for paid events, often turning in its plans late or neglecting to submit them altogether. Advocates say that these closures to the general public deprive local residents of access to one of the neighborhood’s few parks.\u003c/p>\n\u003cp>“BCDC staff has communicated the issue over the years with the Port,” read the BCDC’s enforcement committee meeting minutes from July 11. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not the first time environmentalists have raised red flags about festivals at Middle Harbor Shoreline Park. In addition to Treasure Island, which Noise Pop and Another Planet Entertainment held there for the first time in 2018, the park hosted last year’s rap festival Blurry Vision and this year’s electronic music-focused Second Sky Festival, both presented by promotions giant Goldenvoice. Last year, \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\" target=\"_blank\" rel=\"noopener\">KQED first reported\u003c/a> that environmentalists were concerned events like these could damage the park’s numerous bird habitats.\u003c/p>\n\u003cp>“At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” Port director Michael Zampha told KQED in October 2018. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>The Port of Oakland’s stated mission is to increase “habitat benefits for aquatic birds,” and to “identify any conflicts between public access and habitat development,” according to a 2001 report. Yet it raises up to $100,000 a year in permit fees from festivals. In addition to Treasure Island, the 2019 edition of which hasn’t been formally announced, the \u003ca href=\"https://www.alldayidream.com/\" target=\"_blank\" rel=\"noopener\">All Day I Dream Festival\u003c/a> is slated for late September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The fate of \u003ca href=\"https://www.treasureislandfestival.com/\" target=\"_blank\" rel=\"noopener\">Treasure Island Music Festival\u003c/a> and other events slated at West Oakland’s Middle Harbor Shoreline Park is up in the air after the Bay Conservation and Development Commission (BCDC) sent a cease-and-desist order to the Port of Oakland, according to the BCDC’s enforcement committee.\u003c/p>\n\u003cp>The 40-acre park with views of the San Francisco skyline has become a popular destination for large-scale gatherings in recent years. It’s part of the Port of Oakland, and is overseen by the BCDC. Environmental watchdog groups say that festivals at the park, some of which attract tens of thousands of attendees, have noticeably harmed its terrain. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even a month after [Treasure Island Music Festival], you could still see the damage that was done to the park’s landscape and sprinkler system,” Save the Bay Executive Director David Lewis told the \u003ca href=\"https://www.sfchronicle.com/bayarea/philmatier/article/Events-at-Oakland-shoreline-park-in-limbo-until-14270038.php?psid=fshxQ\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco\u003c/em> \u003cem>Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Furthermore, the Port of Oakland violated its agreement to obtain permission from the BCDC before closing the park for paid events, often turning in its plans late or neglecting to submit them altogether. Advocates say that these closures to the general public deprive local residents of access to one of the neighborhood’s few parks.\u003c/p>\n\u003cp>“BCDC staff has communicated the issue over the years with the Port,” read the BCDC’s enforcement committee meeting minutes from July 11. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not the first time environmentalists have raised red flags about festivals at Middle Harbor Shoreline Park. In addition to Treasure Island, which Noise Pop and Another Planet Entertainment held there for the first time in 2018, the park hosted last year’s rap festival Blurry Vision and this year’s electronic music-focused Second Sky Festival, both presented by promotions giant Goldenvoice. Last year, \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\" target=\"_blank\" rel=\"noopener\">KQED first reported\u003c/a> that environmentalists were concerned events like these could damage the park’s numerous bird habitats.\u003c/p>\n\u003cp>“At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” Port director Michael Zampha told KQED in October 2018. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>The Port of Oakland’s stated mission is to increase “habitat benefits for aquatic birds,” and to “identify any conflicts between public access and habitat development,” according to a 2001 report. Yet it raises up to $100,000 a year in permit fees from festivals. In addition to Treasure Island, the 2019 edition of which hasn’t been formally announced, the \u003ca href=\"https://www.alldayidream.com/\" target=\"_blank\" rel=\"noopener\">All Day I Dream Festival\u003c/a> is slated for late September.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Wanna Be Mine?': K.Flay Extends An Open Invitation Of Sisterhood With 'Solutions'",
"headTitle": "‘Wanna Be Mine?’: K.Flay Extends An Open Invitation Of Sisterhood With ‘Solutions’ | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/740695121/k-flay\">K.Flay\u003c/a> kicked off her musical career with experimental rap mixtapes like \u003cem>Suburban Rap Queen in 2003 \u003c/em>when she entered Stanford University. Since then, singer has dabbled in different styles, but retained a biting, rough-around-the-edges sound. She’s dropped such projects as \u003cem>I Stopped Caring in ’96 \u003c/em>and \u003cem>Life as a Dog \u003c/em>and her Grammy-nominated 2017 track “Blood In The Cut” is a raging strutter.\u003c/p>\n\u003cp>“I had this kind of peripatetic existence,” K.Flay says of her earlier music, much of it written right here in the Bay Area. “I didn’t live anywhere. I was on tour constantly. So, there was a real sense of displacement that I felt and I really was trying to reckon with in that period.”\u003c/p>\n\u003cp>But K.Flay’s latest album, \u003cem>Solutions\u003c/em>, has a different, somehow quieter, feel. A new softness colors one of the album’s lead singles, “Sister.”\u003c/p>\n\u003cp>“Sister,” unsurprisingly, talks about siblings. K.Flay explains that she has a brother and a sister, though they aren’t related by blood. Her parents split up when she was around 5 or 6, and her stepfather — her two siblings’ biological father — helped raise her and later adopted her.\u003c/p>\n\u003cp>https://youtu.be/7ZN5kYvuY6M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m super, super close with my family, and I think a lot about family, just because of the way my childhood played out,” K.Flay reflects. “I think it gave me time to consider, like — what is the role of blood and DNA? What is the role of nurture?”\u003c/p>\n\u003cp>On \u003cem>Every Where Is Some Where\u003c/em>, the 2017 predecessor to \u003cem>Solutions\u003c/em>, K.Flay also sang about family members in the song “Champagne” — but that album took a different approach to the subject.\u003c/p>\n\u003cp>“In a lot of ways, that record was about problems,” K.Flay says of \u003cem>Every Where Is Some Where\u003c/em>. “I think I wrote that in a space of heartbreak.”\u003c/p>\n\u003cp>In contrast, \u003cem>Solutions \u003c/em>reflects a more hopeful creative state. K.Flay describes how she worked on this album from a healthy, optimistic space. “I was falling in love; I was really taking care of myself for the first time in a long time. I think there’s an optimism, a cautious optimism, that’s inherent in a lot of those reckonings.”\u003c/p>\n\u003cp>“Sister” showcases that optimism and love in the form of sisterhood — which K.Flay describes as a gender-less concept to encapsulate compassionate connection and chosen family-building. Although the song originated from what K.Flay calls a feeling of “separateness” from her siblings, it grew into a vulnerable, inviting expression of warmth.\u003c/p>\n\u003cp>“This record, and the kind of lyrical challenge I gave to myself, was: Let me take these points of pain, these points of angst, these points of confusion and kind of, like, just pivot a little bit in the direction of optimism or hopefulness,” K.Flay says. “I got into the studio a couple months later and everything just sort of clicked, where I was like, ‘You know what? The thing I wanna say to my brother and sister, and the thing that I did say and I have said and it’s worked, is, ‘I wanna be your sister. Do you wanna be mine?'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Rosalind Faulkner contributed to the digital version of this story. Listen to the full aired conversation at the audio link\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>\u003c/p>\n\u003cp>“I’m super, super close with my family, and I think a lot about family, just because of the way my childhood played out,” K.Flay reflects. “I think it gave me time to consider, like — what is the role of blood and DNA? What is the role of nurture?”\u003c/p>\n\u003cp>On \u003cem>Every Where Is Some Where\u003c/em>, the 2017 predecessor to \u003cem>Solutions\u003c/em>, K.Flay also sang about family members in the song “Champagne” — but that album took a different approach to the subject.\u003c/p>\n\u003cp>“In a lot of ways, that record was about problems,” K.Flay says of \u003cem>Every Where Is Some Where\u003c/em>. “I think I wrote that in a space of heartbreak.”\u003c/p>\n\u003cp>In contrast, \u003cem>Solutions \u003c/em>reflects a more hopeful creative state. K.Flay describes how she worked on this album from a healthy, optimistic space. “I was falling in love; I was really taking care of myself for the first time in a long time. I think there’s an optimism, a cautious optimism, that’s inherent in a lot of those reckonings.”\u003c/p>\n\u003cp>“Sister” showcases that optimism and love in the form of sisterhood — which K.Flay describes as a gender-less concept to encapsulate compassionate connection and chosen family-building. Although the song originated from what K.Flay calls a feeling of “separateness” from her siblings, it grew into a vulnerable, inviting expression of warmth.\u003c/p>\n\u003cp>“This record, and the kind of lyrical challenge I gave to myself, was: Let me take these points of pain, these points of angst, these points of confusion and kind of, like, just pivot a little bit in the direction of optimism or hopefulness,” K.Flay says. “I got into the studio a couple months later and everything just sort of clicked, where I was like, ‘You know what? The thing I wanna say to my brother and sister, and the thing that I did say and I have said and it’s worked, is, ‘I wanna be your sister. Do you wanna be mine?'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Rosalind Faulkner contributed to the digital version of this story. Listen to the full aired conversation at the audio link\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>A stretch of the border wall between the U.S. and Mexico was adorned with a set of pink see-saws this week — allowing children (and grownups) to play together across the barrier. The event was “filled with joy, excitement, and togetherness,” says University of California, Berkeley professor and architect Ronald Rael, a leader of the project.\u003c/p>\n\u003cp>The seesaws were installed on Sunday, when their steel beams were eased through the slats of the tall fence that divides Sunland Park, N.M., from Colonia Anapra — a community on the western side of Ciudad Juárez in Mexico.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael says via email, describing the mood at Sunday’s event. And while he admits to being a little nervous about the completion of a project that had been brewing for 10 years, he says it went off without a hitch.\u003c/p>\n\u003cp>“It was peaceful and fun — a day at a park for the children and mothers of Anapra,” Rael says.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0fY2R6hfKr/\u003c/p>\n\u003cp>The seesaws were created by Rael and fellow architect Virginia San Fratello; the two are partners in a design firm. By installing playground toys, they sought to tweak the meaning of a border fence.\u003c/p>\n\u003cp>“The wall became a literal fulcrum for U.S. – Mexico relations” once the seesaws were added, Rael said in \u003ca href=\"https://www.instagram.com/p/B0fY2R6hfKr/\">an Instagram post\u003c/a> about the project.\u003c/p>\n\u003cp>Rael added, “children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side.”\u003c/p>\n\u003cp>In a statement to NPR, Rael and San Fratello say the installation was made to be temporary, adding that the seesaws — fabricated in Juarez — could be installed quickly.\u003c/p>\n\u003cp>As for why they turned an idea from 2009 into a reality in 2019, they say the project “is incredibly important at a time when relationships between people on both sides are being severed by the wall and the politics of the wall.”\u003c/p>\n\u003cp>[aside postID='arts_11806906' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2016/07/EmergingObjects01.jpg' target='_blank']\u003c/p>\n\u003cp>To help install the seesaws, Rael and San Fratello collaborated with Colectivo Chopeke, a Juarez-based artist collective. And when everything was finally in place, children from Anapra joined Rael in riding on the seats, bouncing up and down with their fellow riders on the U.S. side.\u003c/p>\n\u003cp>Of course, it’s unlikely that three seesaws could recast the tense and difficult discussions around U.S. immigration policies that have divided families from loved ones. Reflecting the high-profile attention the border has gotten, both Mexican soldiers and U.S. Border Patrol agents were present during Sunday’s event.\u003c/p>\n\u003cp>“U.S. Border Patrol did not have a problem with it, nor did soldiers from Mexico,” Rael says.\u003c/p>\n\u003cp>The bright pink teetertotters brought a new chance to see the border through the eyes of people who live along the divide — and for those people to see each other in a new light, even if their view was confined by tall steel slats.\u003c/p>\n\u003cp>“The joy that was shared this day on both sides is something that will stay with me forever,” \u003ca href=\"https://www.instagram.com/p/B0iALEOBMfP/\">Rael said\u003c/a> on Instagram Tuesday, in an update about the project. With that message, he posted a video of people playing on the pink seesaws, smiling at each other through the fence.\u003c/p>\n\u003cp>\u003ca href=\"https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\">https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\u003c/a>\u003c/p>\n\u003cp>Even before Sunday, the concept of putting seesaws on a border fence had already drawn acclaim for Rael and San Fratello. They note that their original drawings and models for a “Teeter-Totter Wall” are held by the Museum of Modern Art in New York and the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>While the original idea sprang forth as a way to contemplate trade and labor imbalances, the seesaws have taken on added meaning as President Trump has imposed strict policies along the border and vehemently spoken out against illegal immigration.\u003c/p>\n\u003cp>As Rael and San Fratello said via email, the seesaws are meant to tell the story of “how the actions on one side of the border have direct consequences on the other.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The seesaws were created by Rael and fellow architect Virginia San Fratello; the two are partners in a design firm. By installing playground toys, they sought to tweak the meaning of a border fence.\u003c/p>\n\u003cp>“The wall became a literal fulcrum for U.S. – Mexico relations” once the seesaws were added, Rael said in \u003ca href=\"https://www.instagram.com/p/B0fY2R6hfKr/\">an Instagram post\u003c/a> about the project.\u003c/p>\n\u003cp>Rael added, “children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side.”\u003c/p>\n\u003cp>In a statement to NPR, Rael and San Fratello say the installation was made to be temporary, adding that the seesaws — fabricated in Juarez — could be installed quickly.\u003c/p>\n\u003cp>As for why they turned an idea from 2009 into a reality in 2019, they say the project “is incredibly important at a time when relationships between people on both sides are being severed by the wall and the politics of the wall.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To help install the seesaws, Rael and San Fratello collaborated with Colectivo Chopeke, a Juarez-based artist collective. And when everything was finally in place, children from Anapra joined Rael in riding on the seats, bouncing up and down with their fellow riders on the U.S. side.\u003c/p>\n\u003cp>Of course, it’s unlikely that three seesaws could recast the tense and difficult discussions around U.S. immigration policies that have divided families from loved ones. Reflecting the high-profile attention the border has gotten, both Mexican soldiers and U.S. Border Patrol agents were present during Sunday’s event.\u003c/p>\n\u003cp>“U.S. Border Patrol did not have a problem with it, nor did soldiers from Mexico,” Rael says.\u003c/p>\n\u003cp>The bright pink teetertotters brought a new chance to see the border through the eyes of people who live along the divide — and for those people to see each other in a new light, even if their view was confined by tall steel slats.\u003c/p>\n\u003cp>“The joy that was shared this day on both sides is something that will stay with me forever,” \u003ca href=\"https://www.instagram.com/p/B0iALEOBMfP/\">Rael said\u003c/a> on Instagram Tuesday, in an update about the project. With that message, he posted a video of people playing on the pink seesaws, smiling at each other through the fence.\u003c/p>\n\u003cp>\u003ca href=\"https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\">https://scontent-lax3-1.xx.fbcdn.net/v/t1.0-9/68265005_10105051744161128_2517945880317788160_n.jpg?_nc_cat=101&_nc_oc=AQlZVXDlw8msGkUncCFEQtSRFuF9qP-ENBYRi96O_PS0fXEFtFkPKrpEscmnop1GeZg&_nc_ht=scontent-lax3-1.xx&oh=68be7d63b7708e41ba20fe4a319dd54e&oe=5DAA70B8\u003c/a>\u003c/p>\n\u003cp>Even before Sunday, the concept of putting seesaws on a border fence had already drawn acclaim for Rael and San Fratello. They note that their original drawings and models for a “Teeter-Totter Wall” are held by the Museum of Modern Art in New York and the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>While the original idea sprang forth as a way to contemplate trade and labor imbalances, the seesaws have taken on added meaning as President Trump has imposed strict policies along the border and vehemently spoken out against illegal immigration.\u003c/p>\n\u003cp>As Rael and San Fratello said via email, the seesaws are meant to tell the story of “how the actions on one side of the border have direct consequences on the other.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\u003c/p>\n\u003cp>https://youtu.be/0KSOMA3QBU0\u003c/p>\n\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\u003c/p>\n\u003cp>https://youtu.be/QCcW-guAs_s\u003c/p>\n\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0KSOMA3QBU0'\n title='//www.youtube.com/embed/0KSOMA3QBU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QCcW-guAs_s'\n title='//www.youtube.com/embed/QCcW-guAs_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Stephanie Hewett Found Her Financial Footing in the Bay Area Dance Scene",
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"content": "\u003cp>\u003ca href=\"https://www.stephanie-hewett.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Stephanie Hewett\u003c/a>’s story is a classic Bay Area artist experience of constant hustles, side gigs, long rides on public transportation—and finally, her body telling her to slow down.\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $600/month\u003c/li>\n\u003cli>Day job: $33,000/year\u003c/li>\n\u003cli>Dance work: $300–$1,000/month\u003c/li>\n\u003cli>Car insurance: $100/month\u003c/li>\n\u003cli>School loans: $250/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>In order to shorten her commute from Oakland to the College of San Mateo, where Hewett worked in 2018 as adjunct faculty in the dance department, filling in for a teacher on parental leave, the performer and choreographer needed a car. But in order to buy a car, she needed to work seven days a week for six months to save up the money. And before she bought that car, she had to find the time to learn to drive.\u003c/p>\n\u003cp>Growing up in the Bronx, driving wasn’t a skill Hewett needed until she graduated from Mills with her MFA in dance and found herself teaching 40 miles away from her Oakland home.\u003c/p>\n\u003cp>So for three months after she started teaching, and before she bought her own wheels, Hewett commuted almost two hours each way, Monday through Friday, to San Mateo. “I would have to take a bus to the Coliseum BART, then BART to Hayward, then take a bus from Hayward to Foster City, and then take a bus from Foster City to San Mateo,” she says. “It was rough.”\u003c/p>\n\u003ch2>Paying the price of not slowing down\u003c/h2>\n\u003cp>For many recent graduates of an MFA program, landing a full-time (though temporary) gig teaching pilates, yoga and ballet at a Bay Area community college might sound like a dream fulfilled. But Hewett says the schedule—even after she cut her commute in half by driving—proved grueling. \u003c/p>\n\u003cp>Ultimately, what prevented Hewett from maintaining her untenable regimen of teaching, performing and commuting was her very own body. She sprained her ankle while performing at YBCA in June 2018, then continued to dance on it while rehearsing for a November performance in San Francisco’s City Hall, \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener noreferrer\" target=\"_blank\">an event\u003c/a> with Oakland artist Sofía Córdova. \u003c/p>\n\u003cfigure id=\"attachment_13860992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg\" alt=\"Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By sheer luck, as Hewett was struggling to maintain her schedule while injured, the Mills dance department reached out offering her a full-time job as an administrative assistant. Even teaching five days a week, her adjunct position at College of San Mateo meant she didn’t have any health insurance. “I didn’t have security,” she says. “All my money was from teaching.”\u003c/p>\n\u003cp>Hewett accepted Mills’ offer. “I never imagined myself doing that,” she remembers, “but the timing was kind of perfect because I was hurting myself by not stopping and not slowing down.”\u003c/p>\n\u003ch2>Finding support in the Bay Area dance scene\u003c/h2>\n\u003cp>Now, Hewett makes about $33,000 a year at Mills—and has health insurance. In addition to that steady income, she brings in anywhere between $300 and $1,000 a month from her practice. This includes performing in collaboration with visual artists (like the City Hall event) or independently at events, and teaching workshops.\u003c/p>\n\u003cp>Most recently, Hewett has done audio describing work for audience members with visual impairments, through the dance company \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\" rel=\"noopener noreferrer\" target=\"_blank\">Jess Curtis/Gravity\u003c/a>. Hewett describes actions, costumes, setting, gestures, facial expressions and objects into a muffled microphone for audience members wearing wireless headsets.\u003c/p>\n\u003cp>“This is something that not a lot of dance companies or performance and theater companies are doing,” Hewett says. “So Jess is really hoping that folks will take these services seriously and provide them for their audiences.”\u003c/p>\n\u003cfigure id=\"attachment_13860991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg\" alt=\"Hewett's laptop.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett’s laptop. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her own practice, Hewett is part of the Bay Area collective Lxs Dxs (pronounced “lex dex”), a six-person group of emerging movement artists and choreographers (jose e abad, Gabriel Christian, Felix Sol Linck-Frenz, Hewett, Emelia Martínez Brumbaugh and randy reyes) who met during CounterPulse’s \u003ca href=\"http://counterpulse.org/event/performing-diaspora-residency-2017-2-2/\" rel=\"noopener noreferrer\" target=\"_blank\">Performing Diaspora residency\u003c/a> in December 2017. \u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>“We all have our different practices that we bring together,” she says. “Some people are more interested in storytelling, some people are more interested in video work or ritual practice or drag.” The group has performed together several times since forming, thanks to residencies at Rancho 2y2 in Veracruz, Mexico, and at CSU San Marcos (the artists were able to pay for about half of their travel costs with money earned from past residencies and performances; the rest they paid out of pocket). Most recently, Lxs Dxs was invited to perform as part of CounterPulse’s May fundraising gala, receiving a $300 honorarium they split six ways. \u003c/p>\n\u003cp>Creating new work is only possible, Hewett notes, if Lxs Dxs can access free rehearsal space—as they did when preparing for CounterPulse’s gala. “It’s hard to meet weekly when we don’t have our own space,” she says. And at this point, it’s just not a financial possibility for the collaborative: “That would require us paying for space and then not being able to pay ourselves for the time.” Bay Area rehearsal spaces cost about $15 to $20 an hour. \u003c/p>\n\u003cp>The support of organizations like CounterPulse has been a major part of Hewett’s Bay Area career. In addition to collaborating with Reyes during his Performing Diaspora residency, Hewett was awarded the Edge residency, CounterPulse’s commissioning program for contemporary choreographers. That residency culminated in her production \u003ci>\u003ca href=\"http://counterpulse.org/event/edge2019/\" rel=\"noopener noreferrer\" target=\"_blank\">/soft/c/\u003c/a>\u003c/i> in April 2019, for which Hewett received a $700 co-production grant from the dance company \u003ca href=\"http://factsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">FACT/SF\u003c/a>. Charles Slender-White, FACT/SF’s artistic director, later invited her to join his nascent fiscal sponsorship program. \u003c/p>\n\u003cfigure id=\"attachment_13860994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg\" alt=\"Hewett at home in Oakland.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett at home in Oakland. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With fiscal sponsorship, Hewett is eligible to apply for funds only available to nonprofits. In the future, if Hewett receives grants through FACT/SF, the organization will take five percent of all awarded money as an administrative fee. (Other local fiscal sponsorship programs, like \u003ca href=\"https://dancersgroup.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancers’ Group\u003c/a> and \u003ca href=\"https://theintersection.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Intersection for the Arts\u003c/a>, take ten percent.) \u003c/p>\n\u003cp>[pullquote size='medium' citation='Stephanie Hewett']‘I refuse to have collaborators and not pay them.’[/pullquote]\u003c/p>\n\u003cp>Hewett is one of just two initial recipients of FACT/SF’s fiscal sponsorship program. “I see her work as having a lot of promise,” says Slender-White of Hewett. “I think her voice and aesthetic in the region is unique and interesting. She also seems to approach craft with a level of rigor that I personally find very satisfying.”\u003c/p>\n\u003cp>Hewett says the financial realities of managing a dance company, getting fiscal sponsorship and making it all work in the Bay Area wasn’t the focus during her grad program at Mills: “You put a lot of money into it and you have all this space and time to experiment and decide what it is that you want to say and how to say it.” Which was great, Hewett says, but it means learning how to navigate the wider world of arts funding after grad school, through word of mouth and cohort networks. \u003c/p>\n\u003ch2>Expanding her practice\u003c/h2>\n\u003cp>Meanwhile, Hewett keeps her expenses fairly low. She has two roommates and pays $600 a month in rent. On top of that she spends $100 a month on car insurance and $250 a month on grad school loans. The only purchases she makes that could possibly be described as impulsive or extraneous are the props and materials she hoards for future projects.\u003c/p>\n\u003cp>Hewett says her relationship to money definitely impacts how often she produces shows and what kind of scale she’s able to attain in her work. “I can’t produce work all the time because I don’t have the resources to do that,” she says. “And I also refuse to have collaborators and not pay them. So most of the time I end up making a lot of solo work, which also requires money, but not as much money.”\u003c/p>\n\u003cfigure id=\"attachment_13860993\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg\" alt=\"An altar of mementos in Hewett's Oakland home.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An altar of mementos in Hewett’s Oakland home. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003ci>/soft/c/\u003c/i>, for example, Hewett paid two dancers to perform, hired an artist to create live projections during the show and commissioned new work from a composer. CounterPulse provides $1,500 in artist fees and $1,000 in production fees to recipients of the Edge residency; Hewett ended up paying $2,000 out of pocket to her dancers and collaborators.\u003c/p>\n\u003cp>For now, producing one major piece a year is finally feasible for Hewett. She has a slate of residencies and performances scheduled through October, and her practice is changing. Because of her injury, she’s exploring other mediums. “I’ve been dabbling in music composition, video projection, storytelling with voice. I would say I’m very much multidisciplinary,” she sums up. She’s learning how to mix music and DJ—another expenditure she’s now saving up for. \u003c/p>\n\u003cp>So far, Hewett’s been able to stay in the Bay Area, provided with the opportunities and support she hoped to find after grad school. “I really enjoy it here, especially in Oakland,” she says. “I love the communities that I’ve created and that I’m in. As long as I can keep making money or keep being awarded these grants, and people can believe in my work and pay me to make the work, I think it can happen.” \u003c/p>\n\u003cp>“But if anything shifts,” she adds, “I’m open to leaving.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In order to shorten her commute from Oakland to the College of San Mateo, where Hewett worked in 2018 as adjunct faculty in the dance department, filling in for a teacher on parental leave, the performer and choreographer needed a car. But in order to buy a car, she needed to work seven days a week for six months to save up the money. And before she bought that car, she had to find the time to learn to drive.\u003c/p>\n\u003cp>Growing up in the Bronx, driving wasn’t a skill Hewett needed until she graduated from Mills with her MFA in dance and found herself teaching 40 miles away from her Oakland home.\u003c/p>\n\u003cp>So for three months after she started teaching, and before she bought her own wheels, Hewett commuted almost two hours each way, Monday through Friday, to San Mateo. “I would have to take a bus to the Coliseum BART, then BART to Hayward, then take a bus from Hayward to Foster City, and then take a bus from Foster City to San Mateo,” she says. “It was rough.”\u003c/p>\n\u003ch2>Paying the price of not slowing down\u003c/h2>\n\u003cp>For many recent graduates of an MFA program, landing a full-time (though temporary) gig teaching pilates, yoga and ballet at a Bay Area community college might sound like a dream fulfilled. But Hewett says the schedule—even after she cut her commute in half by driving—proved grueling. \u003c/p>\n\u003cp>Ultimately, what prevented Hewett from maintaining her untenable regimen of teaching, performing and commuting was her very own body. She sprained her ankle while performing at YBCA in June 2018, then continued to dance on it while rehearsing for a November performance in San Francisco’s City Hall, \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener noreferrer\" target=\"_blank\">an event\u003c/a> with Oakland artist Sofía Córdova. \u003c/p>\n\u003cfigure id=\"attachment_13860992\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg\" alt=\"Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett has chronic tendonitis in her left foot, which changes the way she now approaches her practice. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By sheer luck, as Hewett was struggling to maintain her schedule while injured, the Mills dance department reached out offering her a full-time job as an administrative assistant. Even teaching five days a week, her adjunct position at College of San Mateo meant she didn’t have any health insurance. “I didn’t have security,” she says. “All my money was from teaching.”\u003c/p>\n\u003cp>Hewett accepted Mills’ offer. “I never imagined myself doing that,” she remembers, “but the timing was kind of perfect because I was hurting myself by not stopping and not slowing down.”\u003c/p>\n\u003ch2>Finding support in the Bay Area dance scene\u003c/h2>\n\u003cp>Now, Hewett makes about $33,000 a year at Mills—and has health insurance. In addition to that steady income, she brings in anywhere between $300 and $1,000 a month from her practice. This includes performing in collaboration with visual artists (like the City Hall event) or independently at events, and teaching workshops.\u003c/p>\n\u003cp>Most recently, Hewett has done audio describing work for audience members with visual impairments, through the dance company \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\" rel=\"noopener noreferrer\" target=\"_blank\">Jess Curtis/Gravity\u003c/a>. Hewett describes actions, costumes, setting, gestures, facial expressions and objects into a muffled microphone for audience members wearing wireless headsets.\u003c/p>\n\u003cp>“This is something that not a lot of dance companies or performance and theater companies are doing,” Hewett says. “So Jess is really hoping that folks will take these services seriously and provide them for their audiences.”\u003c/p>\n\u003cfigure id=\"attachment_13860991\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg\" alt=\"Hewett's laptop.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860991\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett’s laptop. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her own practice, Hewett is part of the Bay Area collective Lxs Dxs (pronounced “lex dex”), a six-person group of emerging movement artists and choreographers (jose e abad, Gabriel Christian, Felix Sol Linck-Frenz, Hewett, Emelia Martínez Brumbaugh and randy reyes) who met during CounterPulse’s \u003ca href=\"http://counterpulse.org/event/performing-diaspora-residency-2017-2-2/\" rel=\"noopener noreferrer\" target=\"_blank\">Performing Diaspora residency\u003c/a> in December 2017. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We all have our different practices that we bring together,” she says. “Some people are more interested in storytelling, some people are more interested in video work or ritual practice or drag.” The group has performed together several times since forming, thanks to residencies at Rancho 2y2 in Veracruz, Mexico, and at CSU San Marcos (the artists were able to pay for about half of their travel costs with money earned from past residencies and performances; the rest they paid out of pocket). Most recently, Lxs Dxs was invited to perform as part of CounterPulse’s May fundraising gala, receiving a $300 honorarium they split six ways. \u003c/p>\n\u003cp>Creating new work is only possible, Hewett notes, if Lxs Dxs can access free rehearsal space—as they did when preparing for CounterPulse’s gala. “It’s hard to meet weekly when we don’t have our own space,” she says. And at this point, it’s just not a financial possibility for the collaborative: “That would require us paying for space and then not being able to pay ourselves for the time.” Bay Area rehearsal spaces cost about $15 to $20 an hour. \u003c/p>\n\u003cp>The support of organizations like CounterPulse has been a major part of Hewett’s Bay Area career. In addition to collaborating with Reyes during his Performing Diaspora residency, Hewett was awarded the Edge residency, CounterPulse’s commissioning program for contemporary choreographers. That residency culminated in her production \u003ci>\u003ca href=\"http://counterpulse.org/event/edge2019/\" rel=\"noopener noreferrer\" target=\"_blank\">/soft/c/\u003c/a>\u003c/i> in April 2019, for which Hewett received a $700 co-production grant from the dance company \u003ca href=\"http://factsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">FACT/SF\u003c/a>. Charles Slender-White, FACT/SF’s artistic director, later invited her to join his nascent fiscal sponsorship program. \u003c/p>\n\u003cfigure id=\"attachment_13860994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg\" alt=\"Hewett at home in Oakland.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_12_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hewett at home in Oakland. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With fiscal sponsorship, Hewett is eligible to apply for funds only available to nonprofits. In the future, if Hewett receives grants through FACT/SF, the organization will take five percent of all awarded money as an administrative fee. (Other local fiscal sponsorship programs, like \u003ca href=\"https://dancersgroup.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Dancers’ Group\u003c/a> and \u003ca href=\"https://theintersection.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Intersection for the Arts\u003c/a>, take ten percent.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hewett is one of just two initial recipients of FACT/SF’s fiscal sponsorship program. “I see her work as having a lot of promise,” says Slender-White of Hewett. “I think her voice and aesthetic in the region is unique and interesting. She also seems to approach craft with a level of rigor that I personally find very satisfying.”\u003c/p>\n\u003cp>Hewett says the financial realities of managing a dance company, getting fiscal sponsorship and making it all work in the Bay Area wasn’t the focus during her grad program at Mills: “You put a lot of money into it and you have all this space and time to experiment and decide what it is that you want to say and how to say it.” Which was great, Hewett says, but it means learning how to navigate the wider world of arts funding after grad school, through word of mouth and cohort networks. \u003c/p>\n\u003ch2>Expanding her practice\u003c/h2>\n\u003cp>Meanwhile, Hewett keeps her expenses fairly low. She has two roommates and pays $600 a month in rent. On top of that she spends $100 a month on car insurance and $250 a month on grad school loans. The only purchases she makes that could possibly be described as impulsive or extraneous are the props and materials she hoards for future projects.\u003c/p>\n\u003cp>Hewett says her relationship to money definitely impacts how often she produces shows and what kind of scale she’s able to attain in her work. “I can’t produce work all the time because I don’t have the resources to do that,” she says. “And I also refuse to have collaborators and not pay them. So most of the time I end up making a lot of solo work, which also requires money, but not as much money.”\u003c/p>\n\u003cfigure id=\"attachment_13860993\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg\" alt=\"An altar of mementos in Hewett's Oakland home.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13860993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KQED_TheHustle_Graham_Holoch_Stephanie_Hewett_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An altar of mementos in Hewett’s Oakland home. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003ci>/soft/c/\u003c/i>, for example, Hewett paid two dancers to perform, hired an artist to create live projections during the show and commissioned new work from a composer. CounterPulse provides $1,500 in artist fees and $1,000 in production fees to recipients of the Edge residency; Hewett ended up paying $2,000 out of pocket to her dancers and collaborators.\u003c/p>\n\u003cp>For now, producing one major piece a year is finally feasible for Hewett. She has a slate of residencies and performances scheduled through October, and her practice is changing. Because of her injury, she’s exploring other mediums. “I’ve been dabbling in music composition, video projection, storytelling with voice. I would say I’m very much multidisciplinary,” she sums up. She’s learning how to mix music and DJ—another expenditure she’s now saving up for. \u003c/p>\n\u003cp>So far, Hewett’s been able to stay in the Bay Area, provided with the opportunities and support she hoped to find after grad school. “I really enjoy it here, especially in Oakland,” she says. “I love the communities that I’ve created and that I’m in. As long as I can keep making money or keep being awarded these grants, and people can believe in my work and pay me to make the work, I think it can happen.” \u003c/p>\n\u003cp>“But if anything shifts,” she adds, “I’m open to leaving.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Covering the Bay Area arts scene can often feel like covering the slow disappearance of the Bay Area arts scene. As \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" rel=\"noopener\" target=\"_blank\">venues close\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" rel=\"noopener\" target=\"_blank\">funding opportunities diminish\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\" rel=\"noopener\" target=\"_blank\">institutions “restructure”\u003c/a> (a.k.a. lay off full-time staff), it’s important to remember that despite all this, the Bay Area is home to an enduring and vibrant community of musicians, actors, writers and other artists.\u003c/p>\n\u003cp>To fight those memory lapses, we’re re-launching \u003ci>The Hustle\u003c/i>: an \u003ca href=\"https://ww2.kqed.org/pressroom/2019/06/27/murrow/\" rel=\"noopener\" target=\"_blank\">award-winning\u003c/a> series looking at the money behind brilliant Bay Area artists who are making ends meet in one of the most expensive regions in the United States. Every month we ask someone to be radically transparent about their finances, getting real about income, expenses, sacrifices, side gigs and successes.\u003c/p>\n\u003cp>Money is a taboo topic of conversation in every field, but it’s especially difficult for artists to discuss—and this secrecy keeps important information from circulating when it could help others. Only by talking honestly about the real price of making art in the Bay Area can we better understand how to support the artists who live here.\u003c/p>\n\u003cp>Are you a Bay Area artist with a “hustle”? We’d love to talk to you! Fill out the survey below to contribute to our reporting and be considered for inclusion in the series.\u003c/p>\n\u003cp>[googleapps domain=”docs” dir=”forms/d/e/1FAIpQLScbSJTo3R1WyYSn0hfYr_t6sNbQh6_uSiowBaJDLCEuLPrFDw/viewform” query=”embedded=true” width=”800″ height=”2680″ /]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Covering the Bay Area arts scene can often feel like covering the slow disappearance of the Bay Area arts scene. As \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" rel=\"noopener\" target=\"_blank\">venues close\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" rel=\"noopener\" target=\"_blank\">funding opportunities diminish\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13860412/500-capp-street-lays-off-head-curator-creates-confusion-about-future-exhibitions\" rel=\"noopener\" target=\"_blank\">institutions “restructure”\u003c/a> (a.k.a. lay off full-time staff), it’s important to remember that despite all this, the Bay Area is home to an enduring and vibrant community of musicians, actors, writers and other artists.\u003c/p>\n\u003cp>To fight those memory lapses, we’re re-launching \u003ci>The Hustle\u003c/i>: an \u003ca href=\"https://ww2.kqed.org/pressroom/2019/06/27/murrow/\" rel=\"noopener\" target=\"_blank\">award-winning\u003c/a> series looking at the money behind brilliant Bay Area artists who are making ends meet in one of the most expensive regions in the United States. Every month we ask someone to be radically transparent about their finances, getting real about income, expenses, sacrifices, side gigs and successes.\u003c/p>\n\u003cp>Money is a taboo topic of conversation in every field, but it’s especially difficult for artists to discuss—and this secrecy keeps important information from circulating when it could help others. Only by talking honestly about the real price of making art in the Bay Area can we better understand how to support the artists who live here.\u003c/p>\n\u003cp>Are you a Bay Area artist with a “hustle”? We’d love to talk to you! Fill out the survey below to contribute to our reporting and be considered for inclusion in the series.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n src='https://”docs”.google.com/”forms/d/e/1FAIpQLScbSJTo3R1WyYSn0hfYr_t6sNbQh6_uSiowBaJDLCEuLPrFDw/viewform”?embedded=true'\n title='https://”docs”.google.com/”forms/d/e/1FAIpQLScbSJTo3R1WyYSn0hfYr_t6sNbQh6_uSiowBaJDLCEuLPrFDw/viewform”'\n width='”800″'\n height='”2680″'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>[aside postID='arts_13859988' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\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>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\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>Finding love is not easy.\u003c/p>\n\u003cp>But Supreme Court Justice Ruth Bader Ginsburg counts herself among the lucky ones.\u003c/p>\n\u003cp>She had an epic marriage to her late husband, Marty Ginsburg, that has been detailed in many places (\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128249680\">here\u003c/a>, \u003ca href=\"https://www.townandcountrymag.com/society/money-and-power/a26292252/ruth-bader-ginsburg-martin-husband-love-story-rbg/\">here \u003c/a>and \u003ca href=\"https://www.biography.com/news/ruth-bader-ginsburg-husband-marty-love-story\">here\u003c/a>), including the \u003ca href=\"https://www.rbgmovie.com/\">RBG documentary.\u003c/a>\u003c/p>\n\u003cp>But this past year tested Ginsburg in a new way without the love of her life. She was diagnosed with cancer for the third time in 20 years late last year, and it was the first time she has had to wage the fight without Marty.\u003c/p>\n\u003cp>“My first two cancer bouts — both colorectal cancer at Washington Hospital Center and pancreatic cancer at Sloan Kettering — Marty stayed with me,” \u003ca href=\"https://www.npr.org/744633713\">Ginsburg told NPR’s Nina Totenberg\u003c/a> in an interview on July 23. “He stayed with me in the hospital sleeping on an uncomfortable couch despite his bad back. And I knew that someone was there who really cared about me and would make sure that things didn’t go wrong.”\u003c/p>\n\u003cp>[aside postID='arts_13862182' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/2019-07-23-rbg-shuang-01-4caed7196bf81612daab9a602174546fd22b9734-1020x765.jpg' target='_blank'] \u003c/p>\n\u003cp>Throughout his life, Marty, who was one of the preeminent tax lawyers in the country, was a principal booster of his wife. He played a behind-the-scenes lobbying role, for example, in her eventual appointment to the Supreme Court. He was even the principal cook for his wife and children in an era when most men took a back seat on domestic duties, and no one seemed to relish Ruth’s accomplishments more than Marty.\u003c/p>\n\u003cp>And he was always looking out for her, like that one time in the hospital when, without him there, Justice Ginsburg might have died.\u003c/p>\n\u003cp>“There was one day during [the] colon cancer bout when I was getting a blood transfusion, and Marty saw that something was very wrong,” Ginsburg said, “and he immediately yanked the needle out of me. It turned out that there was a mismatch not in the type of blood but in some antigen. I might not have lived it if he hadn’t been there.”\u003c/p>\n\u003cp>He encouraged her to go to a physical therapist. That famous exercise regimen of hers might not have happened were it not for Marty.\u003c/p>\n\u003cp>“I didn’t want to do it,” Ginsburg said. “I was exhausted, and Marty said, ‘You do it.’ And he was quite insistent about that. So, to have his loving care and yet his determination that I do what was necessary to heal faster, it was hard to be alone.”\u003c/p>\n\u003cp>When she was recovering from cancer twice before, Marty would cook for her, walk with her, read to her and make her laugh.\u003c/p>\n\u003cp>“Marty had a wonderful sense of humor, as you know,” Ginsburg said.\u003c/p>\n\u003cp>Ginsburg is reminded of Marty every day, especially, she said, when the newspaper arrives.\u003c/p>\n\u003cp>“He was my clipping service with \u003cem>The New York Times \u003c/em>and \u003cem>The [Washington] Post\u003c/em>,” she said. “I miss him every morning, because I have no one to go through the paper and pick out what I should read.”\u003c/p>\n\u003cp>Now with him gone, Justice Ginsburg cherishes Marty’s memory. But, to get by, she has dived into her work at the court.\u003c/p>\n\u003cp>“The work is really what saved me,” she said, “because I had to concentrate on reading the brief doing a draft of an opinion, and I knew that had to get done. So I had to get past whatever my aches and pains were. Just do the job.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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