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"content": "\u003cfigure id=\"attachment_13874888\" class=\"wp-caption alignnone\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg\" alt=\"Fredrika and Huey P. Newton on their wedding day.\" width=\"792\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-768x993.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika and Huey P. Newton on their wedding day. \u003ccite>(Courtesy of the De Young Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fredrika Newton met her late husband, Huey P. Newton, co-founder of the Black Panther Party for Self Defense, when she was a college student. From that chance meeting, came a relationship for the history books.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week Fredrika shares what it’s like to love one of America’s most notable activists and what it’s like to love Huey, the man behind the symbol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fredrika carries Huey’s legacy as the president of the \u003c/span>\u003ca href=\"https://hueypnewtonfoundation.org/\">\u003cspan style=\"font-weight: 400\">Huey P. Newton foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which is currently in the process of creating a Black Panther Museum. She’s also working on building a permanent public monument in Oakland dedicated to the legacy of Huey P. Newton. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the three decades since Huey’s death, Fredrika has gained lots of wisdom about healing and growth. She also tells us how she’s just learning to love again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s to love, revolution and evolution.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/DSC8029-800x535.jpg\" alt=\"Fredrika Newton\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika Newton \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Portions of this interview have been edited for length and clarity. \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On The Night They Met\u003c/b>\u003cbr>\nI met him at my mother’s house. My mother was a real estate broker for the Black Panther Party. It was packed, full of young students, activists, some Panthers. All these people were asking him a lot of questions about these kinds of deep, intellectual, academic, esoteric questions. It came time for me to ask him a question, I just asked him, “So what was it like in prison?” He put down his fork, and he stopped. And he thought, and he looked at me in the eyes, and he said it was very lonely. And it was something in that connection. His vulnerability and his thoughtfulness and his quietness, that just kind of captivated me. The rest is history.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Their Song\u003c/b>\u003cbr>\nHuey loved Isaac Hayes. “I Stand Accused.” Are you kidding me? That album. And back then that the speakers were like this big, and he had four of them. They were huge.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Maintaining a Healthy Relationship While Combating Oppression \u003c/b>\u003cbr>\nIt’s like being in a foxhole together. Everything is intense. Everything is immediate. I think that a lot of relationships were sacrificed. It gave new meaning to stay in the day. You didn’t know if you’d have another day. So relationships were intense.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Her Definition of Love\u003c/b>\u003cbr>\nI know that love is not just a feeling and that it’s an action in terms of your community. I think that what we did in the Party, was just such a definition of love. It’s just an ultimate example of undying love for their community.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>To learn more, \u003ca href=\"https://deyoung.famsf.org/calendar/conversation-fredrika-newton-lynnee-denise-cultural-resonance-dr-huey-p-newton\">join Fredrika Newton at the De Young Museum Saturday, February 15th\u003c/a>. She will be in conversation about Huey, their activism, their life together and his legacy. It’s part of the “Soul of a Nation” show on now at the museum.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_QJwR6D9d4\u003c/p>\n\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>“Tonight is for Kobe,” said Lizzo as she took the stage at Los Angeles’ Staples Center on Sunday night—the first words spoken at the 62nd Grammy Awards.\u003c/p>\n\u003cp>The death of Kobe Bryant and eight others (including his 13-year-old daughter, Gianna) in a horrific helicopter crash that morning rocked the nation, including the music industry, and was ever-present at Sunday’s ceremony. And an outpouring on social media from stars across all genres spoke to the impact the basketball legend had on culture, far beyond sports.\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/1221545674988310533\u003c/p>\n\u003cp>https://twitter.com/MariahCarey/status/1221537029114253313\u003c/p>\n\u003cp>https://www.instagram.com/p/B7y8sChHPNT\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MeekMill/status/1221519262784733184\u003c/p>\n\u003cp>https://twitter.com/kanyewest/status/1221558611320528896\u003c/p>\n\u003cp>https://twitter.com/flea333/status/1221520186353696768\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Bryant’s untimely death the morning of “music’s biggest night” left an indelible mark on the ceremony. And the timing was exacerbated by the venue: the Staples Center, where Bryant spent his entire 20-year career playing for the Lakers. It was of little surprise to anyone when Lizzo dedicated the night to him before it even began. [aside postid='arts_13873909']\u003c/p>\n\u003cp>It was, however, up to Grammys host Alicia Keys to fully acknowledge—and attempt to disperse—the dark cloud hanging over the Staples Center.\u003c/p>\n\u003cp>“To be honest with you,” Keys said after Lizzo’s show-opening performance (of “Cuz I Love You” and “Truth Hurts”), “we’re all feeling crazy sadness right now. Because earlier today, Los Angeles, America and the whole wide world lost a hero. And we’re literally standing here heartbroken in the house that Kobe Bryant built.”\u003c/p>\n\u003cp>She continued, “Right now, all of those that have been tragically lost today are in our spirit, our prayers, and in this building… Take a moment and just hold them inside of you and share our strength and our support with their families. We never imagined in a million years that we’d have to start the show like this.”\u003c/p>\n\u003cp>To provide some catharsis, Boyz II Men (who were already scheduled to perform “Earfquake” with Tyler, the Creator) joined Keys on stage for a special performance of “It’s So Hard to Say Goodbye to Yesterday.”\u003c/p>\n\u003cp>Bryant’s spirit was ever-present throughout the evening. Lil Nas X added a Bryant 24 jersey to his living room set during “Old Town Road”; Run DMC held one aloft throughout their performance of “Walk This Way” with Aerosmith. And DJ Khaled gave Bryant a shoutout at the end of his performance of “Higher” with John Legend, Meek Mill, Roddy Ricch, YG and Kirk Franklin. Originally intended as a tribute to Nipsey Hussle, Bryant’s image was projected next to the “\u003ca href=\"https://www.youtube.com/watch?v=pwBFOuCrdr4\" target=\"_blank\" rel=\"noopener noreferrer\">Double Up\u003c/a>” rapper’s at the end of the song.\u003c/p>\n\u003cp>Kirk Franklin, talking on the red carpet before the awards began, noted in regards to both Hussle and Bryant: “Life is more valuable than trophies. We take life sometimes in such a passive way… We should feel this tragedy.” Later, while accepting the award for best rap/sung performance, Legend noted: “We’ve seen so much tragedy today—and last year. Let’s love each other, love our families and hold each other tight.”\u003c/p>\n\u003cp>Lizzo alluded to Bryant once more as she accepted the award for best pop solo performance. “This whole week, I’ve been lost in my problems, stressed out,” she said. “And then, in an instant, all of that can go away and your priorities can really shift. And today, all of my little problems that I thought were big as the world, were gone.”\u003c/p>\n\u003cp>“It’s been a hell of a week,” Alicia Keys acknowledged early in the evening. “I know how much Kobe loved music, so we’ve gotta make this a celebration in his honor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mission accomplished.\u003c/p>\n\n",
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"content": "\u003cp>Terry Jones, a founding member of the anarchic Monty Python troupe who was hailed by colleagues as “the complete Renaissance comedian” and “a man of endless enthusiasms,” has died at age 77 after suffering from dementia.\u003c/p>\n\u003cp>Jones’s family said he died Tuesday evening at his home in London “after a long, extremely brave but always good humored battle with a rare form of dementia.”\u003c/p>\n\u003cp>“We have all lost a kind, funny, warm, creative and truly loving man whose uncompromising individuality, relentless intellect and extraordinary humor has given pleasure to countless millions across six decades,” Jones’s wife, Anna Soderstrom, and children Bill, Sally and Siri, said in a statement.\u003c/p>\n\u003cp>Born in Wales in 1942, Jones attended Oxford University, where he began writing and performing with fellow student Michael Palin.\u003c/p>\n\u003cp>After leaving university, he wrote for seminal 1960s comedy series, including \u003cem>The Frost Report\u003c/em> and \u003cem>Do Not Adjust Your Set\u003c/em>. At the end of the decade he and Palin, along with Eric Idle, John Cleese, Graham Chapman and Terry Gilliam, formed Monty Python’s Flying Circus. The troupe’s irreverent humor—a blend of satire, surrealism and silliness—helped revolutionize British comedy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The drummer and lyricist for the iconic Canadian prog rock band Rush has died. Neil Peart was 67 years old.\u003c/p>\n\u003cp>His death was announced by spokesperson Elliot Mintz, who said that Peart died on Jan. 7 in Santa Monica, Calif. Peart had been diagnosed with brain cancer three and a half years ago.\u003c/p>\n\u003cp>Peart was first inspired to become a drummer after watching the movie \u003cem>The Gene Krupa Story\u003c/em>, as he told NPR’s \u003ca href=\"https://www.npr.org/2015/01/06/375171736/mystic-rhythms-rushs-neil-peart-on-the-first-rock-drummer\">Morning Edition\u003c/a> in 2015.\u003c/p>\n\u003cp>“Drumming completely eclipsed my life from age 13, when I started drum lessons,” Peart said. “Everything disappeared. I’d done well in school up until that time. I was fairly adjusted socially up until that time. And I became completely monomania, obsessed all through my teens. Nothing else existed anymore.” \u003c/p>\n\u003cp>Onstage, Peart worked hard behind his kit, immersed in the rhythm. “I tend to define it as grim determination,” Peart told Morning Edition. “It is very physical and painful. … The exertion level is very much of an athlete level, so when I see myself, I see a stone face. But it is that kind of immersion. I’ll be looking out in between the immersion; I might pop my head out of the water for a second like an alligator, and see people in the audience reacting or holding up a sign or whatever. And that does delight me because, in a larger sense, I’m very much an audience kind of person, more than a performer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He had \u003ca href=\"https://www.cbc.ca/news/entertainment/rush-neil-peart-retirement-1.3354504\">announced his retirement\u003c/a> in 2015. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rush+Drummer+And+Lyricist+Neil+Peart+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The drummer and lyricist for the iconic Canadian prog rock band Rush has died. Neil Peart was 67 years old.\u003c/p>\n\u003cp>His death was announced by spokesperson Elliot Mintz, who said that Peart died on Jan. 7 in Santa Monica, Calif. Peart had been diagnosed with brain cancer three and a half years ago.\u003c/p>\n\u003cp>Peart was first inspired to become a drummer after watching the movie \u003cem>The Gene Krupa Story\u003c/em>, as he told NPR’s \u003ca href=\"https://www.npr.org/2015/01/06/375171736/mystic-rhythms-rushs-neil-peart-on-the-first-rock-drummer\">Morning Edition\u003c/a> in 2015.\u003c/p>\n\u003cp>“Drumming completely eclipsed my life from age 13, when I started drum lessons,” Peart said. “Everything disappeared. I’d done well in school up until that time. I was fairly adjusted socially up until that time. And I became completely monomania, obsessed all through my teens. Nothing else existed anymore.” \u003c/p>\n\u003cp>Onstage, Peart worked hard behind his kit, immersed in the rhythm. “I tend to define it as grim determination,” Peart told Morning Edition. “It is very physical and painful. … The exertion level is very much of an athlete level, so when I see myself, I see a stone face. But it is that kind of immersion. I’ll be looking out in between the immersion; I might pop my head out of the water for a second like an alligator, and see people in the audience reacting or holding up a sign or whatever. And that does delight me because, in a larger sense, I’m very much an audience kind of person, more than a performer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>John Baldessari, who pioneered a new genre of art in the 1970s and in the process helped elevate Los Angeles’ status in the art world from that of back-water berg to a center of the conceptual movement, has died at age 88. \u003c/p>\n\u003cp>Baldessari died Thursday at his home in Los Angeles, the artist’s representatives at New York’s Marian Goodman Gallery confirmed Monday.\u003cbr>\n“It is with immense sadness that I write to let you know of the death of the intelligent, loving and incomparable John Baldessari,” Goodman said in a statement. “The loss to his family, his fellow artists, his studio staff, friends and devoted former students is beyond measure.”\u003c/p>\n\u003cp>A giant in the world of art both literally and figuratively—he stood 6-feet-7-inches tall—the bearded, shaggy-haired Baldessari produced thousands of works, many of which have been exhibited all over the world and are in the collections of major museums from Los Angeles to New York.\u003cbr>\nHe also influenced dozens of other artists, both with his work and as a teacher at the prestigious California Institute of the Arts and the University of California, Los Angeles.\u003c/p>\n\u003cp>“His legendary class in Post-Studio Art bestowed on those of us with enough brains to notice a feeling of unbelievable luck of being in exactly the right place at the right time for the new freedoms in art,” fellow artist David Salle wrote in the 2013 introduction to a lengthy interview he conducted with Baldessari, his CalArts professor in the early 1970s. \u003c/p>\n\u003cp>Student met teacher at a time not long after Baldessari, having grown frustrated with his own abstract expressionist paintings, loaded them into 10 boxes, took them to a San Diego funeral home and burned them. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bored with an art movement he believed had grown old and stale, Baldessari set out to create something new, creating multimedia works that among other things merged photographs with painting, sometimes included pieces of recognizable objects or body parts but in unimaginable ways and often contained perfectly formed block letters placed as captions on the paintings. \u003c/p>\n\u003cp>It was a style that prompted \u003cem>Los Angeles Times\u003c/em> arts critic Christopher Knight to declare Baldessari “arguably America’s most influential Conceptual artist.”\u003c/p>\n\u003cp>Over the course of his career, which continued into his 80s, Baldessari worked in such forms as prints, sculpture, text-based art, paintings and photographs, often mixing two or more of them together. \u003c/p>\n\u003cp>Some of his most well known works included \u003ci>God Nose\u003c/i>, which depicted a nose in the sky with those two words under it; \u003ci>The Intersection Series: Person and Dog/High Rise Building\u003c/i>, a mixture of photography and acrylic that included a dog, a building, a car and other images; and \u003ci>Double Bill :… And Matisse\u003c/i>, which combined inkjet print on canvas with acrylic and oil paint to display a pair of walking legs and the words, “Just Matisse.”\u003c/p>\n\u003cp>Those works and others often struck viewers as both brilliantly constructed and at the same time whimsical, although Baldessari insisted he was never trying to be funny. Instead he compared himself to a mystery writer, providing clues to the reader, or in this case the viewer, and letting them figure it out. \u003c/p>\n\u003cp>“I go back and forth between wanting to be abundantly simple and maddeningly complex,” he told Salle during that 2013 interview. “I always compare what I do to the work of a mystery writer— like, you don’t want to know the end of the book right away.”\u003c/p>\n\u003cp>Although he may not have deliberately intended his work to be humorous, Salle told The Associated Press on Monday, humor, irony and humanity were so imbued in Baldessari’s personality that they became “almost like the delivery system of his work.”\u003c/p>\n\u003cp>“And then later on, at some point he added to that visual glamour, which was very much apart from other conceptual artists who were much more restrained,” Salle added. “That was a winning combination that made his work accessible and pleasurable and complex and dense all at the same time.”\u003c/p>\n\u003cp>https://youtu.be/eU7V4GyEuXA\u003c/p>\n\u003cp>John Anthony Baldessari was born on June 17, 1931, in National City, California, a small town on both the edge of San Diego and the Mexican city of Tijuana. His father, a salvage dealer, was from Austria and his mother from Denmark. \u003c/p>\n\u003cp>Showing artistic talent from an early age, he was often chosen by teachers to create murals or other art projects. After high school, he decided to study art at San Diego State University despite his father’s concerns that it could be something he’d struggle at to earn a living.\u003cbr>\nAfter earning a master’s degree, he went on to teach art at his alma mater, at local public schools and, for one summer, at a camp for teenage juvenile delinquents. He would joke in later years that it was likely his imposing size as much as his artistic skills that earned him that latter job.\u003c/p>\n\u003cp>He was also painting and showing his work, although by the late 1960s he’d begun to grow bored with what he and others were producing.\u003cbr>\nBefore torching his paintings in 1970, he created a magazine cover that depicted a copy of a painting with the words, “This is not to be looked at” painted underneath the work as a caption. \u003c/p>\n\u003cp>After incinerating his own work, he began teaching at CalArts, where his students included Salle, Mike Kelley, Barbara Bloom and other future prominent artists. \u003c/p>\n\u003cp>Later he taught for several years at UCLA.\u003c/p>\n\u003cp>Over the years, he collected numerous honors, including the National Medal of Arts from President Barack Obama.\u003c/p>\n\u003cfigure id=\"attachment_13872543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/BaldessariObama_1200.jpg\" alt=\"\" width=\"1200\" height=\"818\" class=\"size-full wp-image-13872543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-1020x695.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">U.S. President Barack Obama presents the 2014 National Medal of Arts to John Baldessari during an East Room ceremony at the White House Sept. 10, 2015 in Washington, DC. John Baldessari was honored for his contributions as a visual artist. \u003ccite>(Photo by Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His works are in the collections of New York’s Museum of Modern Art, the Art Institute of Chicago, New York’s Whitney Museum, the San Francisco Museum of Modern Art and in Los Angeles’ The Broad, the Museum of Contemporary Art and the County Museum of Art. \u003c/p>\n\u003cp>“He’s someone who’s had over 377 solo exhibitions, been part of more than 1,500 group exhibitions, who has produced over 4,000 works of art,” former MOCA director Philippe Vergne said when the museum honored him in 2015. \u003c/p>\n\u003cp>As the accolades accumulated over the years, the soft-spoken artist remained humble, even mocking his work during a 2018 appearance on “The Simpsons,” in which he discusses art with Marge.\u003c/p>\n\u003cp>“I still have that vestigial idea that all these other people are artists. I’m an artist wannabe,” he told Salle in 2013. \u003c/p>\n\u003cp>When Salle told him he’d created a movement that altered art history, he laughed.\u003c/p>\n\u003cp>“I thought I was going to teach high school, maybe have a family, and do art on the weekends,” he replied. \u003c/p>\n\u003cp>Survivors include Baldessari’s daughter, Annamarie, and son, Tony. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Marian Wood Gallery said services are pending. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Baldessari, who pioneered a new genre of art in the 1970s and in the process helped elevate Los Angeles’ status in the art world from that of back-water berg to a center of the conceptual movement, has died at age 88. \u003c/p>\n\u003cp>Baldessari died Thursday at his home in Los Angeles, the artist’s representatives at New York’s Marian Goodman Gallery confirmed Monday.\u003cbr>\n“It is with immense sadness that I write to let you know of the death of the intelligent, loving and incomparable John Baldessari,” Goodman said in a statement. “The loss to his family, his fellow artists, his studio staff, friends and devoted former students is beyond measure.”\u003c/p>\n\u003cp>A giant in the world of art both literally and figuratively—he stood 6-feet-7-inches tall—the bearded, shaggy-haired Baldessari produced thousands of works, many of which have been exhibited all over the world and are in the collections of major museums from Los Angeles to New York.\u003cbr>\nHe also influenced dozens of other artists, both with his work and as a teacher at the prestigious California Institute of the Arts and the University of California, Los Angeles.\u003c/p>\n\u003cp>“His legendary class in Post-Studio Art bestowed on those of us with enough brains to notice a feeling of unbelievable luck of being in exactly the right place at the right time for the new freedoms in art,” fellow artist David Salle wrote in the 2013 introduction to a lengthy interview he conducted with Baldessari, his CalArts professor in the early 1970s. \u003c/p>\n\u003cp>Student met teacher at a time not long after Baldessari, having grown frustrated with his own abstract expressionist paintings, loaded them into 10 boxes, took them to a San Diego funeral home and burned them. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bored with an art movement he believed had grown old and stale, Baldessari set out to create something new, creating multimedia works that among other things merged photographs with painting, sometimes included pieces of recognizable objects or body parts but in unimaginable ways and often contained perfectly formed block letters placed as captions on the paintings. \u003c/p>\n\u003cp>It was a style that prompted \u003cem>Los Angeles Times\u003c/em> arts critic Christopher Knight to declare Baldessari “arguably America’s most influential Conceptual artist.”\u003c/p>\n\u003cp>Over the course of his career, which continued into his 80s, Baldessari worked in such forms as prints, sculpture, text-based art, paintings and photographs, often mixing two or more of them together. \u003c/p>\n\u003cp>Some of his most well known works included \u003ci>God Nose\u003c/i>, which depicted a nose in the sky with those two words under it; \u003ci>The Intersection Series: Person and Dog/High Rise Building\u003c/i>, a mixture of photography and acrylic that included a dog, a building, a car and other images; and \u003ci>Double Bill :… And Matisse\u003c/i>, which combined inkjet print on canvas with acrylic and oil paint to display a pair of walking legs and the words, “Just Matisse.”\u003c/p>\n\u003cp>Those works and others often struck viewers as both brilliantly constructed and at the same time whimsical, although Baldessari insisted he was never trying to be funny. Instead he compared himself to a mystery writer, providing clues to the reader, or in this case the viewer, and letting them figure it out. \u003c/p>\n\u003cp>“I go back and forth between wanting to be abundantly simple and maddeningly complex,” he told Salle during that 2013 interview. “I always compare what I do to the work of a mystery writer— like, you don’t want to know the end of the book right away.”\u003c/p>\n\u003cp>Although he may not have deliberately intended his work to be humorous, Salle told The Associated Press on Monday, humor, irony and humanity were so imbued in Baldessari’s personality that they became “almost like the delivery system of his work.”\u003c/p>\n\u003cp>“And then later on, at some point he added to that visual glamour, which was very much apart from other conceptual artists who were much more restrained,” Salle added. “That was a winning combination that made his work accessible and pleasurable and complex and dense all at the same time.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eU7V4GyEuXA'\n title='//www.youtube.com/embed/eU7V4GyEuXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>John Anthony Baldessari was born on June 17, 1931, in National City, California, a small town on both the edge of San Diego and the Mexican city of Tijuana. His father, a salvage dealer, was from Austria and his mother from Denmark. \u003c/p>\n\u003cp>Showing artistic talent from an early age, he was often chosen by teachers to create murals or other art projects. After high school, he decided to study art at San Diego State University despite his father’s concerns that it could be something he’d struggle at to earn a living.\u003cbr>\nAfter earning a master’s degree, he went on to teach art at his alma mater, at local public schools and, for one summer, at a camp for teenage juvenile delinquents. He would joke in later years that it was likely his imposing size as much as his artistic skills that earned him that latter job.\u003c/p>\n\u003cp>He was also painting and showing his work, although by the late 1960s he’d begun to grow bored with what he and others were producing.\u003cbr>\nBefore torching his paintings in 1970, he created a magazine cover that depicted a copy of a painting with the words, “This is not to be looked at” painted underneath the work as a caption. \u003c/p>\n\u003cp>After incinerating his own work, he began teaching at CalArts, where his students included Salle, Mike Kelley, Barbara Bloom and other future prominent artists. \u003c/p>\n\u003cp>Later he taught for several years at UCLA.\u003c/p>\n\u003cp>Over the years, he collected numerous honors, including the National Medal of Arts from President Barack Obama.\u003c/p>\n\u003cfigure id=\"attachment_13872543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/BaldessariObama_1200.jpg\" alt=\"\" width=\"1200\" height=\"818\" class=\"size-full wp-image-13872543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BaldessariObama_1200-1020x695.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">U.S. President Barack Obama presents the 2014 National Medal of Arts to John Baldessari during an East Room ceremony at the White House Sept. 10, 2015 in Washington, DC. John Baldessari was honored for his contributions as a visual artist. \u003ccite>(Photo by Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His works are in the collections of New York’s Museum of Modern Art, the Art Institute of Chicago, New York’s Whitney Museum, the San Francisco Museum of Modern Art and in Los Angeles’ The Broad, the Museum of Contemporary Art and the County Museum of Art. \u003c/p>\n\u003cp>“He’s someone who’s had over 377 solo exhibitions, been part of more than 1,500 group exhibitions, who has produced over 4,000 works of art,” former MOCA director Philippe Vergne said when the museum honored him in 2015. \u003c/p>\n\u003cp>As the accolades accumulated over the years, the soft-spoken artist remained humble, even mocking his work during a 2018 appearance on “The Simpsons,” in which he discusses art with Marge.\u003c/p>\n\u003cp>“I still have that vestigial idea that all these other people are artists. I’m an artist wannabe,” he told Salle in 2013. \u003c/p>\n\u003cp>When Salle told him he’d created a movement that altered art history, he laughed.\u003c/p>\n\u003cp>“I thought I was going to teach high school, maybe have a family, and do art on the weekends,” he replied. \u003c/p>\n\u003cp>Survivors include Baldessari’s daughter, Annamarie, and son, Tony. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Elizabeth Wurtzel, Controversial Author of 'Prozac Nation,' Dies at 52",
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"content": "\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Elizabeth Wurtzel, whose 1994 memoir \u003cem>Prozac Nation\u003c/em> became a mainstay on bestseller lists and inspired a national conversation about clinical depression, has died at the age of 52. David Lipsky, a friend of Wurtzel, confirmed to NPR that the writer died Tuesday of an aggressive case of breast cancer at a hospital in Manhattan.\u003c/p>\n\u003cp>The news comes as a blow to Wurtzel’s many readers, who were introduced to her brash, unapologetic style with \u003cem>Prozac Nation\u003c/em>, published while she was still in her mid-20s. The memoir traced her struggles with depression, growing up in a fractured family and spending a rocky tenure studying at Harvard—and in the process, it earned Wurtzel a raft of fans and critics, almost in equal measure.\u003c/p>\n\u003cp>But as the unapologetic writer would be the first to tell you, she embraced the book’s complicated reception, which can be neatly encapsulated by a \u003cem>New York Times\u003c/em> review \u003ca href=\"https://www.nytimes.com/1994/09/20/books/the-examined-life-is-not-worth-living-either.html\">at the time\u003c/a> that described it as “wrenching and comical,” “self-indulgent and self-aware”—redolent of Bob Dylan and Joan Didion while still in need of “some strict editing.”\u003c/p>\n\u003cp>That didn’t particularly faze Wurtzel, who acknowledged in a 2018 piece announcing her breast cancer diagnosis that “I was early for history.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was on Prozac when it was still called fluoxetine. I wrote a \u003ca href=\"https://www.kirkusreviews.com/book-reviews/elizabeth-wurtzel/prozac-nation/\">twentynothing memoir\u003c/a> when there was no such thing. I got addicted to snorting Ritalin before there was Adderall,” she wrote in \u003ca href=\"https://www.theguardian.com/commentisfree/2018/jan/20/cancer-elizabeth-wurtzel\">The Guardian\u003c/a>. “I was a riot girl, I was a do-me feminist, and I posed topless giving the world the finger on the cover of my second book.”\u003c/p>\n\u003cp>And she’s not wrong about that timing. The widespread success in sales of Wurtzel’s memoir helped inspire a publishing trend that has seen a spate of popular memoirs from other young writers continuing through the present day.\u003c/p>\n\u003cp>Wurtzel followed up \u003cem>Prozac Nation\u003c/em> with an essay collection in the late 1990s titled \u003cem>Bitch: In Praise of Difficult Women\u003c/em>—whose cover did indeed feature her topless, flipping off the reader. Then came another memoir, \u003cem>More, Now, Again\u003c/em>, this time focusing on her plunge into drug addiction.\u003c/p>\n\u003cp>She also wrote numerous articles for \u003cem>The Wall Street Journal\u003c/em>, \u003cem>Elle\u003c/em>, \u003cem>New York\u003c/em> magazine and other publications.\u003c/p>\n\u003cp>“For a certain kind of young writer—particularly young, female writer in the 1990s—Elizabeth Wurtzel was exactly who you wanted to be and exactly who you were afraid to be,” Meghan Daum, a prolific author and essayist in her own right, tells NPR.\u003c/p>\n\u003cp>“She was writing about herself. She was doing so in a way that was really interesting and compelling, but it also got her labeled ‘confessional.’ And I think for a lot of us, that was something that we wanted to avoid even as we were writing about ourselves,” Daum adds. “So she was both a role model and a cautionary tale.”\u003c/p>\n\u003cp>For Wurtzel, at least, that liminal space between exhilarating and alarming was comfortable. So, when it came time to publicly speak about her breast cancer in 2018, her broader point in that piece was a familiar one: You’d better save your sorries—whether you’re discussing her books or her medical condition.\u003c/p>\n\u003cp>“Sorry for what? I’m not sorry about anything. I was never sorry when I said I was. Apologies are a courtesy,” she wrote. “I love to argue. I am in it for the headache. I don’t need you to be on my side—I’m on my side.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Wurtzel%2C+Who+Stirred+Conversation+With+%27Prozac+Nation%2C%27+Dies+At+52&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Elizabeth Wurtzel, whose 1994 memoir \u003cem>Prozac Nation\u003c/em> became a mainstay on bestseller lists and inspired a national conversation about clinical depression, has died at the age of 52. David Lipsky, a friend of Wurtzel, confirmed to NPR that the writer died Tuesday of an aggressive case of breast cancer at a hospital in Manhattan.\u003c/p>\n\u003cp>The news comes as a blow to Wurtzel’s many readers, who were introduced to her brash, unapologetic style with \u003cem>Prozac Nation\u003c/em>, published while she was still in her mid-20s. The memoir traced her struggles with depression, growing up in a fractured family and spending a rocky tenure studying at Harvard—and in the process, it earned Wurtzel a raft of fans and critics, almost in equal measure.\u003c/p>\n\u003cp>But as the unapologetic writer would be the first to tell you, she embraced the book’s complicated reception, which can be neatly encapsulated by a \u003cem>New York Times\u003c/em> review \u003ca href=\"https://www.nytimes.com/1994/09/20/books/the-examined-life-is-not-worth-living-either.html\">at the time\u003c/a> that described it as “wrenching and comical,” “self-indulgent and self-aware”—redolent of Bob Dylan and Joan Didion while still in need of “some strict editing.”\u003c/p>\n\u003cp>That didn’t particularly faze Wurtzel, who acknowledged in a 2018 piece announcing her breast cancer diagnosis that “I was early for history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was on Prozac when it was still called fluoxetine. I wrote a \u003ca href=\"https://www.kirkusreviews.com/book-reviews/elizabeth-wurtzel/prozac-nation/\">twentynothing memoir\u003c/a> when there was no such thing. I got addicted to snorting Ritalin before there was Adderall,” she wrote in \u003ca href=\"https://www.theguardian.com/commentisfree/2018/jan/20/cancer-elizabeth-wurtzel\">The Guardian\u003c/a>. “I was a riot girl, I was a do-me feminist, and I posed topless giving the world the finger on the cover of my second book.”\u003c/p>\n\u003cp>And she’s not wrong about that timing. The widespread success in sales of Wurtzel’s memoir helped inspire a publishing trend that has seen a spate of popular memoirs from other young writers continuing through the present day.\u003c/p>\n\u003cp>Wurtzel followed up \u003cem>Prozac Nation\u003c/em> with an essay collection in the late 1990s titled \u003cem>Bitch: In Praise of Difficult Women\u003c/em>—whose cover did indeed feature her topless, flipping off the reader. Then came another memoir, \u003cem>More, Now, Again\u003c/em>, this time focusing on her plunge into drug addiction.\u003c/p>\n\u003cp>She also wrote numerous articles for \u003cem>The Wall Street Journal\u003c/em>, \u003cem>Elle\u003c/em>, \u003cem>New York\u003c/em> magazine and other publications.\u003c/p>\n\u003cp>“For a certain kind of young writer—particularly young, female writer in the 1990s—Elizabeth Wurtzel was exactly who you wanted to be and exactly who you were afraid to be,” Meghan Daum, a prolific author and essayist in her own right, tells NPR.\u003c/p>\n\u003cp>“She was writing about herself. She was doing so in a way that was really interesting and compelling, but it also got her labeled ‘confessional.’ And I think for a lot of us, that was something that we wanted to avoid even as we were writing about ourselves,” Daum adds. “So she was both a role model and a cautionary tale.”\u003c/p>\n\u003cp>For Wurtzel, at least, that liminal space between exhilarating and alarming was comfortable. So, when it came time to publicly speak about her breast cancer in 2018, her broader point in that piece was a familiar one: You’d better save your sorries—whether you’re discussing her books or her medical condition.\u003c/p>\n\u003cp>“Sorry for what? I’m not sorry about anything. I was never sorry when I said I was. Apologies are a courtesy,” she wrote. “I love to argue. I am in it for the headache. I don’t need you to be on my side—I’m on my side.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Rose Friedman contributed to this report\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Wurtzel%2C+Who+Stirred+Conversation+With+%27Prozac+Nation%2C%27+Dies+At+52&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Memoriam 2019: The Musicians We Lost",
"headTitle": "In Memoriam 2019: The Musicians We Lost | KQED",
"content": "\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4nph9B2dSXk\u003c/p>\n\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iuaBJ8-EVSg\u003c/p>\n\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mknDZ88-zfg\u003c/p>\n\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GhXGyer-cIg\u003c/p>\n\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DcFH66IyXCU\u003c/p>\n\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUsnVOqrqqE\u003c/p>\n\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jW9X7kHGoho\u003c/p>\n\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4bMf2ipOnCo\u003c/p>\n\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yUYW2iwimBw\u003c/p>\n\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvqeSJlgaNk\u003c/p>\n\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFH5JgyZK1I\u003c/p>\n\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6CPv7sX7CG8\u003c/p>\n\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wmin5WkOuPw\u003c/p>\n\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZV5tgZlTEkQ\u003c/p>\n\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mKpsuGMeqHI\u003c/p>\n\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zP3zCsMC5cE\u003c/p>\n\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHWrmIzgB5A\u003c/p>\n\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAcGg_4KKYs\u003c/p>\n\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zav50SgbK8o\u003c/p>\n\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=td7lCCO9aaQ\u003c/p>\n\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUxbInKev-o\u003c/p>\n\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gHK9vj0VE7w\u003c/p>\n\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SCRrXZP8b0I\u003c/p>\n\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IJtHdkyo0hc\u003c/p>\n\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNjuxtjtuWg\u003c/p>\n\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g6w3a2v_50U\u003c/p>\n\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qnYtcH4YS44\u003c/p>\n\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wp7VjBtOJ74\u003c/p>\n\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TKDMiyRmbik\u003c/p>\n\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XvUBbROsXBw\u003c/p>\n\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z2c5xCmLiAE\u003c/p>\n\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVDmyuzkiPo\u003c/p>\n\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3OvWFurOBk8\u003c/p>\n\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xuZA6qiJVfU\u003c/p>\n\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=INPSuX3rck8\u003c/p>\n\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4SlLHTLaLc\u003c/p>\n\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pafY6sZt0FE\u003c/p>\n\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E20G25SCAEg\u003c/p>\n\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOIAi2XwuWo\u003c/p>\n\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8uv0yNUduOk\u003c/p>\n\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vsxyaZhdW1s\u003c/p>\n\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8O5IgyDcohQ\u003c/p>\n\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OCW7KVUbdg\u003c/p>\n\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2piCORWRrX0\u003c/p>\n\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mzB1VGEGcSU\u003c/p>\n\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qfceR0mJuEc\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "NPR Music celebrates the alt-rock heroes, Hollywood idols, Pulitzer-winning composers, jazz luminaries, cult legends, bold activists, old masters and rising stars the world lost this year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4nph9B2dSXk'\n title='//www.youtube.com/embed/4nph9B2dSXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/iuaBJ8-EVSg'\n title='//www.youtube.com/embed/iuaBJ8-EVSg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mknDZ88-zfg'\n title='//www.youtube.com/embed/mknDZ88-zfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GhXGyer-cIg'\n title='//www.youtube.com/embed/GhXGyer-cIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DcFH66IyXCU'\n title='//www.youtube.com/embed/DcFH66IyXCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FUsnVOqrqqE'\n title='//www.youtube.com/embed/FUsnVOqrqqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jW9X7kHGoho'\n title='//www.youtube.com/embed/jW9X7kHGoho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4bMf2ipOnCo'\n title='//www.youtube.com/embed/4bMf2ipOnCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yUYW2iwimBw'\n title='//www.youtube.com/embed/yUYW2iwimBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xvqeSJlgaNk'\n title='//www.youtube.com/embed/xvqeSJlgaNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cFH5JgyZK1I'\n title='//www.youtube.com/embed/cFH5JgyZK1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6CPv7sX7CG8'\n title='//www.youtube.com/embed/6CPv7sX7CG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wmin5WkOuPw'\n title='//www.youtube.com/embed/wmin5WkOuPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZV5tgZlTEkQ'\n title='//www.youtube.com/embed/ZV5tgZlTEkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mKpsuGMeqHI'\n title='//www.youtube.com/embed/mKpsuGMeqHI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zP3zCsMC5cE'\n title='//www.youtube.com/embed/zP3zCsMC5cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SHWrmIzgB5A'\n title='//www.youtube.com/embed/SHWrmIzgB5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PAcGg_4KKYs'\n title='//www.youtube.com/embed/PAcGg_4KKYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zav50SgbK8o'\n title='//www.youtube.com/embed/Zav50SgbK8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/td7lCCO9aaQ'\n title='//www.youtube.com/embed/td7lCCO9aaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FUxbInKev-o'\n title='//www.youtube.com/embed/FUxbInKev-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gHK9vj0VE7w'\n title='//www.youtube.com/embed/gHK9vj0VE7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SCRrXZP8b0I'\n title='//www.youtube.com/embed/SCRrXZP8b0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IJtHdkyo0hc'\n title='//www.youtube.com/embed/IJtHdkyo0hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LNjuxtjtuWg'\n title='//www.youtube.com/embed/LNjuxtjtuWg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g6w3a2v_50U'\n title='//www.youtube.com/embed/g6w3a2v_50U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qnYtcH4YS44'\n title='//www.youtube.com/embed/qnYtcH4YS44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Wp7VjBtOJ74'\n title='//www.youtube.com/embed/Wp7VjBtOJ74'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TKDMiyRmbik'\n title='//www.youtube.com/embed/TKDMiyRmbik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XvUBbROsXBw'\n title='//www.youtube.com/embed/XvUBbROsXBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/z2c5xCmLiAE'\n title='//www.youtube.com/embed/z2c5xCmLiAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xVDmyuzkiPo'\n title='//www.youtube.com/embed/xVDmyuzkiPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3OvWFurOBk8'\n title='//www.youtube.com/embed/3OvWFurOBk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xuZA6qiJVfU'\n title='//www.youtube.com/embed/xuZA6qiJVfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/INPSuX3rck8'\n title='//www.youtube.com/embed/INPSuX3rck8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T4SlLHTLaLc'\n title='//www.youtube.com/embed/T4SlLHTLaLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pafY6sZt0FE'\n title='//www.youtube.com/embed/pafY6sZt0FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E20G25SCAEg'\n title='//www.youtube.com/embed/E20G25SCAEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jOIAi2XwuWo'\n title='//www.youtube.com/embed/jOIAi2XwuWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8uv0yNUduOk'\n title='//www.youtube.com/embed/8uv0yNUduOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vsxyaZhdW1s'\n title='//www.youtube.com/embed/vsxyaZhdW1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8O5IgyDcohQ'\n title='//www.youtube.com/embed/8O5IgyDcohQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5OCW7KVUbdg'\n title='//www.youtube.com/embed/5OCW7KVUbdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2piCORWRrX0'\n title='//www.youtube.com/embed/2piCORWRrX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mzB1VGEGcSU'\n title='//www.youtube.com/embed/mzB1VGEGcSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qfceR0mJuEc'\n title='//www.youtube.com/embed/qfceR0mJuEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4206142\">Neil Innes\u003c/a>, whose gift for wry and funny songwriting led to work with \u003ca href=\"https://www.npr.org/tags/126953390/monty-python\">Monty Python\u003c/a>, The Bonzo Dog Doo-Dah Band and The Rutles, died Sunday, December 29. His death was confirmed by his agent, Nigel Morton, who said in a statement that Innes died “quickly, without warning,” of natural causes. He was 75.\u003c/p>\n\u003cp>In a statement, Innes’ family wrote:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>It is with deep sorrow and great sadness that we have to announce the death of Neil James Innes on 29\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>\u003cem> December 2019.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We have lost a beautiful kind, gentle soul whose music and songs touched the heart of everyone and whose intellect and search for truth inspired us all.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Innes wrote several original songs for Monty Python’s sketch-comedy TV show, \u003cem>Monty Python’s Flying Circus\u003c/em>, as well as 1975’s classic movie, \u003cem>Monty Python and the Holy Grail\u003c/em>, in which he also appeared as an actor. Innes’ years as a supporting player with Monty Python led to a long-running stint as co-leader of The Rutles, a fictional late-’70s \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">Beatles\u003c/a> pastiche that featured Monty Python’s Eric Idle as the \u003ca href=\"https://www.npr.org/artists/15158238/paul-mccartney\">Paul McCartney\u003c/a> stand-in, Dirk McQuickly, and Innes as the \u003ca href=\"https://www.npr.org/artists/15405854/john-lennon\">John Lennon\u003c/a> stand-in, Ron Nasty.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8qf8y7v0WIE\u003c/p>\n\u003cp>The Rutles ultimately became a “real” band, appearing on \u003cem>Saturday Night Live\u003c/em> and recording a mockumentary film called \u003ca href=\"https://www.imdb.com/title/tt0077147/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All You Need Is Cash\u003c/em>\u003c/a> in 1978. Assorted reunions, tours, retrospectives and compilations have followed in the decades since.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a way, The Rutles’ long history of affectionate Beatles mimicry amounted to Innes’ musical life coming full circle: The Bonzo Dog Doo-Dah Band had, after all, appeared in the Beatles’ 1967 film \u003cem>Magical Mystery Tour\u003c/em> (wherein it performed its song “Death Cab for Cutie,” which would later give \u003ca href=\"https://www.npr.org/artists/15163859/death-cab-for-cutie\">a different well-known band\u003c/a> its name). Working under a pseudonym, McCartney himself produced The Bonzo Dog Doo-Dah Band’s biggest hit, 1968’s “\u003ca href=\"https://www.youtube.com/watch?v=xVr2hbE6aW0\">I’m the Urban Spaceman\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=woqgI7loyo4&feature=emb_logo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recent years, Innes continued to tour and perform—in 2011, he even popped up at NPR’s Tiny Desk, where he performed two Bonzo Dog Doo-Dah Band songs (“Democracy” and “I’m the Urban Spaceman”), as well as The Rutles’ “I Must Be in Love.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Neil+Innes%2C+Monty+Python+Collaborator+And+Rutles+Member%2C+Dead+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a way, The Rutles’ long history of affectionate Beatles mimicry amounted to Innes’ musical life coming full circle: The Bonzo Dog Doo-Dah Band had, after all, appeared in the Beatles’ 1967 film \u003cem>Magical Mystery Tour\u003c/em> (wherein it performed its song “Death Cab for Cutie,” which would later give \u003ca href=\"https://www.npr.org/artists/15163859/death-cab-for-cutie\">a different well-known band\u003c/a> its name). Working under a pseudonym, McCartney himself produced The Bonzo Dog Doo-Dah Band’s biggest hit, 1968’s “\u003ca href=\"https://www.youtube.com/watch?v=xVr2hbE6aW0\">I’m the Urban Spaceman\u003c/a>.”\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/woqgI7loyo4'\n title='//www.youtube.com/embed/woqgI7loyo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In recent years, Innes continued to tour and perform—in 2011, he even popped up at NPR’s Tiny Desk, where he performed two Bonzo Dog Doo-Dah Band songs (“Democracy” and “I’m the Urban Spaceman”), as well as The Rutles’ “I Must Be in Love.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Neil+Innes%2C+Monty+Python+Collaborator+And+Rutles+Member%2C+Dead+At+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rapper Juice WRLD Dead At Age 21",
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"content": "\u003cp>According to media reports, the fast-rising rapper Juice WRLD has died at age 21 after a medical emergency at Chicago’s Midway Airport. TMZ first \u003ca href=\"https://chicago.suntimes.com/2019/12/8/21001244/chicago-rapper-juice-wrld-dead-midway-airport-seizure\">reported\u003c/a> the death, saying that witnesses saw him having a seizure after disembarking from a private plane.\u003c/p>\n\u003cp>The Chicago Police Department confirmed to NPR on Sunday morning that a “21-year-old male suffered a medical emergency” at Midway, and was transported to Christ Hospital, where he was pronounced dead. The CPD spokesperson said that detectives are conducting a death investigation, but no further information was available.\u003c/p>\n\u003cp>Juice WRLD was born Jarad Anthony Higgins in 1998, and grew up in the Chicago area. In March, the rapper hit No. 1 on the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8502815/juice-wrld-billboard-200-no-1-album-death-race-for-love\">Billboard 200\u003c/a> chart with his album \u003cem>Death Race for Love\u003c/em>; earlier this week, Spotify announced that he was among the \u003ca href=\"https://www.billboard.com/articles/business/streaming/8545219/drake-ed-sheeran-spotifys-most-streamed-decade-wrapped\">top five\u003c/a> male artists streamed in the U.S. this year.\u003c/p>\n\u003cp>He first came to mainstream recognition with a 2017 EP, \u003cem>Nothings Different\u003c/em>; soon after, he signed a contract with Interscope worth a \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8244598/juice-wrld-signs-interscope-3-million-joint-venture\">reported\u003c/a> $3 million. One of the EP’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=mzB1VGEGcSU\">Lucid Dreams\u003c/a>,” went to No. 2 on the Billboard Hot 100. \u003c/p>\n\u003cp>In an unpublished interview with NPR’s Rodney Carmichael recorded this March, Juice WRLD talked about his reputation for making emo rap, and how, in his opinion, hip-hop has evolved towards emotional vulnerability. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel like people are not afraid to touch on all their emotions,” he said. “Back in the day, especially when everybody was trying to act hard all the time, I feel like people just wasn’t touching on that side of their life. I don’t know if they were scared or they was in fear … but I feel as though some of the people now are more mature and more grown than the people back then because they talk about everything that they went through. Everything, not just the violence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Juice WRLD continued, “If they was involved in traphouses and violence and all that other stuff, they don’t just talk about that. They talk about everything. One song could be about a band or a traphouse. The next song could be about somebody writing love letters and crying in the traphouse because they shorty left them or cheated or something.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reports%3A+Rapper+Juice+WRLD+Dead+At+Age+21&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The fast-rising rapper collapsed at a Chicago airport in the early hours on Sunday. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to media reports, the fast-rising rapper Juice WRLD has died at age 21 after a medical emergency at Chicago’s Midway Airport. TMZ first \u003ca href=\"https://chicago.suntimes.com/2019/12/8/21001244/chicago-rapper-juice-wrld-dead-midway-airport-seizure\">reported\u003c/a> the death, saying that witnesses saw him having a seizure after disembarking from a private plane.\u003c/p>\n\u003cp>The Chicago Police Department confirmed to NPR on Sunday morning that a “21-year-old male suffered a medical emergency” at Midway, and was transported to Christ Hospital, where he was pronounced dead. The CPD spokesperson said that detectives are conducting a death investigation, but no further information was available.\u003c/p>\n\u003cp>Juice WRLD was born Jarad Anthony Higgins in 1998, and grew up in the Chicago area. In March, the rapper hit No. 1 on the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8502815/juice-wrld-billboard-200-no-1-album-death-race-for-love\">Billboard 200\u003c/a> chart with his album \u003cem>Death Race for Love\u003c/em>; earlier this week, Spotify announced that he was among the \u003ca href=\"https://www.billboard.com/articles/business/streaming/8545219/drake-ed-sheeran-spotifys-most-streamed-decade-wrapped\">top five\u003c/a> male artists streamed in the U.S. this year.\u003c/p>\n\u003cp>He first came to mainstream recognition with a 2017 EP, \u003cem>Nothings Different\u003c/em>; soon after, he signed a contract with Interscope worth a \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8244598/juice-wrld-signs-interscope-3-million-joint-venture\">reported\u003c/a> $3 million. One of the EP’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=mzB1VGEGcSU\">Lucid Dreams\u003c/a>,” went to No. 2 on the Billboard Hot 100. \u003c/p>\n\u003cp>In an unpublished interview with NPR’s Rodney Carmichael recorded this March, Juice WRLD talked about his reputation for making emo rap, and how, in his opinion, hip-hop has evolved towards emotional vulnerability. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel like people are not afraid to touch on all their emotions,” he said. “Back in the day, especially when everybody was trying to act hard all the time, I feel like people just wasn’t touching on that side of their life. I don’t know if they were scared or they was in fear … but I feel as though some of the people now are more mature and more grown than the people back then because they talk about everything that they went through. Everything, not just the violence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Juice WRLD continued, “If they was involved in traphouses and violence and all that other stuff, they don’t just talk about that. They talk about everything. One song could be about a band or a traphouse. The next song could be about somebody writing love letters and crying in the traphouse because they shorty left them or cheated or something.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Reports%3A+Rapper+Juice+WRLD+Dead+At+Age+21&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lil BUB, the Internet's Favorite Dwarf Cat is Dead; Long Live Lil BUB",
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"content": "\u003cp>She was the rescued feral cat from Indiana with dreamy green eyes, four extra toes and a tongue even more famous than Miley’s. But on Monday morning, news broke that \u003ca href=\"http://lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil BUB\u003c/a> had waddled off to the catnip palace in the sky, breaking the hearts of her 3 million Facebook fans.\u003c/p>\n\u003cp>https://twitter.com/IAMLILBUB/status/1201552296489967621\u003c/p>\n\u003cp>Never held back by her dwarfism, in her short life this four-pound kitty achieved more than many humans five times her age. BUB helped out creatures less fortunate than herself by raising over $300,000 for the ASPCA via \u003ca href=\"https://store.lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">merch sales\u003c/a>, public appearances and other \u003ca href=\"https://secure.aspca.org/donate/lilbub\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> efforts. Possibly even more remarkably, an hour-long video of her \u003ca href=\"https://www.youtube.com/watch?v=ZuHZSbPJhaY\" target=\"_blank\" rel=\"noopener noreferrer\">purring in front of a fireplace\u003c/a> once garnered over 4 million views on YouTube.\u003c/p>\n\u003cp>And that’s not all. In addition to authoring her own book, \u003ca href=\"https://www.amazon.com/Lil-BUBs-Book-Extraordinary-Amazing/dp/B00NAK01KQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB’s Lil Book: The Extraordinary Life of the Most Amazing Cat on the Planet\u003c/em>\u003c/a>, BUB also appeared in two movies—\u003ca href=\"https://www.imdb.com/title/tt4383594/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nine Lives\u003c/em>\u003c/a> (starring Christopher Walken!) and \u003ca href=\"https://www.imdb.com/title/tt4057146/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’ll Be Next Door For Christmas\u003c/em>\u003c/a>—as well as a documentary about her life and origins, titled \u003ca href=\"https://www.youtube.com/watch?v=gNyW-GKOG2k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB & Friends\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her YouTube talk show (why \u003cem>wouldn’t\u003c/em> she have one of those?) featured guests like \u003ca href=\"https://www.youtube.com/watch?v=mbICDkQb46g\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Obama\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=r7tETcTnQcM\" target=\"_blank\" rel=\"noopener noreferrer\">Whoopi Goldberg\u003c/a> and punk rock hero \u003ca href=\"https://www.youtube.com/watch?v=HW4mwjSIkoE\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Albini\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r7tETcTnQcM&t=173s\u003c/p>\n\u003cp>BUB tried to sum up her own enduring appeal in her book. “My limitless wisdom and razor-sharp wit, paired with my ability to overcome disabilities,” she wrote, “provide laughter, hope and inspiration to humans all over the world.” Arguably though, her spirit was best captured on the duet she recorded with party pal Andrew WK, on which he sang: “Stronger than a lion / Cuter than a baby / You bounce through space / Like a magical feline lady.”\u003c/p>\n\u003cp>She does now, Andrew WK. She does now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gVYRR1Fj17M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Never held back by her dwarfism, in her short life this four-pound kitty achieved more than many humans five times her age. BUB helped out creatures less fortunate than herself by raising over $300,000 for the ASPCA via \u003ca href=\"https://store.lilbub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">merch sales\u003c/a>, public appearances and other \u003ca href=\"https://secure.aspca.org/donate/lilbub\" target=\"_blank\" rel=\"noopener noreferrer\">fundraising\u003c/a> efforts. Possibly even more remarkably, an hour-long video of her \u003ca href=\"https://www.youtube.com/watch?v=ZuHZSbPJhaY\" target=\"_blank\" rel=\"noopener noreferrer\">purring in front of a fireplace\u003c/a> once garnered over 4 million views on YouTube.\u003c/p>\n\u003cp>And that’s not all. In addition to authoring her own book, \u003ca href=\"https://www.amazon.com/Lil-BUBs-Book-Extraordinary-Amazing/dp/B00NAK01KQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB’s Lil Book: The Extraordinary Life of the Most Amazing Cat on the Planet\u003c/em>\u003c/a>, BUB also appeared in two movies—\u003ca href=\"https://www.imdb.com/title/tt4383594/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Nine Lives\u003c/em>\u003c/a> (starring Christopher Walken!) and \u003ca href=\"https://www.imdb.com/title/tt4057146/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’ll Be Next Door For Christmas\u003c/em>\u003c/a>—as well as a documentary about her life and origins, titled \u003ca href=\"https://www.youtube.com/watch?v=gNyW-GKOG2k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lil BUB & Friends\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Her YouTube talk show (why \u003cem>wouldn’t\u003c/em> she have one of those?) featured guests like \u003ca href=\"https://www.youtube.com/watch?v=mbICDkQb46g\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Obama\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=r7tETcTnQcM\" target=\"_blank\" rel=\"noopener noreferrer\">Whoopi Goldberg\u003c/a> and punk rock hero \u003ca href=\"https://www.youtube.com/watch?v=HW4mwjSIkoE\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Albini\u003c/a>.\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/r7tETcTnQcM'\n title='//www.youtube.com/embed/r7tETcTnQcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>BUB tried to sum up her own enduring appeal in her book. “My limitless wisdom and razor-sharp wit, paired with my ability to overcome disabilities,” she wrote, “provide laughter, hope and inspiration to humans all over the world.” Arguably though, her spirit was best captured on the duet she recorded with party pal Andrew WK, on which he sang: “Stronger than a lion / Cuter than a baby / You bounce through space / Like a magical feline lady.”\u003c/p>\n\u003cp>She does now, Andrew WK. She does now.\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/gVYRR1Fj17M'\n title='//www.youtube.com/embed/gVYRR1Fj17M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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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