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"content": "\u003cfigure id=\"attachment_13896051\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg\" alt=\"Crying in H Mart book cover\" width=\"640\" height=\"942\" class=\"size-large wp-image-13896051\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1020x1502.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-800x1178.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-160x236.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-768x1131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1043x1536.jpg 1043w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761-1391x2048.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/mart_custom-a33662abbf1bc8a91bc8898f4ba90a0f88e8a761.jpg 1718w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Crying in H Mart’ is a memoir by Michelle Zauner, who performs as Japanese Breakfast.\u003c/figcaption>\u003c/figure>\n\u003cp>By the time I came to know Michelle Zauner as a writer, when \u003cem>The New Yorker \u003c/em>published her personal essay “Crying in H Mart” in August 2018, I had been following her as a musician for five years.\u003c/p>\n\u003cp>I first saw her perform in Philadelphia as the frontwoman of emo band Little Big League in 2013; when she emerged with her poppy shoegaze solo project Japanese Breakfast\u003cem> \u003c/em>in 2016, I recognized Zauner only in her soaring, searching voice.\u003c/p>\n\u003cp>\u003cem>Psychopomp, \u003c/em>the first record Zauner released as Japanese Breakfast,\u003cem> \u003c/em>hinted at where she had been in between: escorting her mother from the world of the living to that of the dead. The first track “In Heaven” tells some of the story of the aftermath of her mother’s death of cancer in 2014: “The dog’s confused / She just paces around all day / sniffing at your empty room / I’m trying to believe / When I sleep it’s really you / Visiting my dreams / like they say that angels do.” Those lyrics break me a little each time I hear them, reminding me of my own grief, of my own sweet childhood dog who looked for my mother and father after they both died of cancer when I was a teenager.\u003c/p>\n\u003cp>But where \u003cem>Psychopomp \u003c/em>and her 2017 record \u003cem>Soft Sounds from Another Planet \u003c/em>explore death and grief in sparse lyrics over upbeat synths, in “Crying in H Mart” Zauner digs much deeper. The essay meditates on how shopping at the Korean American supermarket H Mart brought her mother back to her but still made her loss sting. At H Mart, Zauner writes, “you’ll likely find me crying by the \u003cem>banchan\u003c/em> refrigerators, remembering the taste of my mom’s soy-sauce eggs.”\u003c/p>\n\u003cp>“Crying in H Mart,” stood out to me as a representation of grief that I could relate to — one that doesn’t reach for silver linings, but illuminates the unending nature of loss: “Every time I remember that my mother is dead, it feels like I’m colliding into a wall that won’t give…a reminder of the immutable reality that I will never see her again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That essay became the first chapter of Zauner’s new memoir, also titled \u003cem>Crying in H Mart, \u003c/em>which powerfully maps a complicated mother-daughter relationship cut much too short. Stories of Korean food serve as the backbone of the book, as Zauner plumbs the connections between food and identity. That search takes on new urgency after her mother’s death — in losing her mother, she also lost her strongest tether to Korean culture.\u003c/p>\n\u003cp>Zauner was born in Seoul, the daughter of Chongmi, a native of the city, and Joel, a white American. When she was a year old, the family relocated to Eugene, Oregon, where her mother ruled with an exacting nature. Chongmi was a woman in pursuit of perfection in everything, and of course this prodding extended to her only child. At a young age, Zauner realized that one way she could get her mother’s approval was demonstrating an adventurous appetite. On trips to Seoul, they bonded over midnight snacks on jet-lagged nights, when they “ate \u003cem>ganjang gejang\u003c/em>…sucking salty, rich, custardy raw crab from its shell.”\u003c/p>\n\u003cp>Zauner’s food descriptions transport us to the table alongside her. On a college break, when her mother prepares \u003cem>galbi ssam\u003c/em>, the relief of being cared for with a meal attuned to one’s tastes radiates off the page: “Blissfully I laid my palm flat, blanketed it with a piece of lettuce, and dressed it just the way I liked — a piece of glistening short rib, a spoonful of warm rice, a dredge of \u003cem>ssamjang\u003c/em>, and a thin slice of raw garlic…I closed my eyes and savored the first few chews, my taste buds and stomach having been deprived of a home-cooked meal.”\u003c/p>\n\u003cp>It is this kind of care that Zauner attempts to repay for her mother when she is diagnosed with stage IV squamous-cell carcinoma in her stomach at age 56. After her mother’s diagnosis in May 2014, Zauner, then 25, moves home, ready to bolster Chongmi through chemotherapy with Korean cooking.\u003c/p>\n\u003cp>But chemo wrecks the appetite — I recall my mother being plagued with everything tasting as though it were laced with metal. During the first round of chemo, her mother can’t keep food down; during the second round, she develops mouth sores that make eating painful. When the chemo fails to shrink her tumor, Chongmi decides to forgo further treatment, having learned a lesson from her younger sister Eunmi, who died of colon cancer following 24 chemo treatments. In this, \u003cem>Crying in H Mart\u003c/em> is a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength.\u003c/p>\n\u003cp>Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis. One chapter recounts her mother’s last days, unconscious at home, her breathing “a horrible sucking like the last sputtering of a coffeepot.” It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.\u003c/p>\n\u003cp>Also notable is that Chongmi’s death does not fall at the end of the book. It comes just past halfway through, allowing Zauner ample space to grapple with the immensity of her loss. One balm that emerges is reconnecting with her Korean identity through finally learning to cook the dishes she longed to make for her mother.\u003c/p>\n\u003cp>As a teen, Zauner drifted away from her Koreanness, effacing that side of her heritage for fear of being seen as other. In those same years, she shrunk from her mother’s need for control and constant wheedling. Just as they established their adult relationship — just as Zauner begun to embrace her mother’s culture — her mother died: “What would have been the most fruitful years of understanding were cut violently short, and I was left alone to decipher the secrets of inheritance without its key.”\u003c/p>\n\u003cp>Cooking becomes the key. Her teacher is Maangchi, described by \u003cem>The New York Times \u003c/em>as “YouTube’s Korean Julia Child.” In cooking, Zauner conjures ghosts: her aunt Eunmi munching on Korean fried chicken, her mother ordering more kimchi to go with knife-cut noodle soup in Seoul, her grandmother slurping black-bean noodles.\u003c/p>\n\u003cp>Near the end of the book, Zauner meditates on the process of fermenting kimchi, and how it allows cabbage to “enjoy a new life altogether.” She realizes that she needs to tend to her memories and heritage in the same way: “The culture that we shared was active, effervescent in my gut and in my genes, and I had to seize it, foster it so it did not die in me…If I could not be with my mother, I would be her.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What \u003cem>Crying in H Mart \u003c/em>reveals, though, is that in losing her mother and cooking to bring her back to life, Zauner became herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That essay became the first chapter of Zauner’s new memoir, also titled \u003cem>Crying in H Mart, \u003c/em>which powerfully maps a complicated mother-daughter relationship cut much too short. Stories of Korean food serve as the backbone of the book, as Zauner plumbs the connections between food and identity. That search takes on new urgency after her mother’s death — in losing her mother, she also lost her strongest tether to Korean culture.\u003c/p>\n\u003cp>Zauner was born in Seoul, the daughter of Chongmi, a native of the city, and Joel, a white American. When she was a year old, the family relocated to Eugene, Oregon, where her mother ruled with an exacting nature. Chongmi was a woman in pursuit of perfection in everything, and of course this prodding extended to her only child. At a young age, Zauner realized that one way she could get her mother’s approval was demonstrating an adventurous appetite. On trips to Seoul, they bonded over midnight snacks on jet-lagged nights, when they “ate \u003cem>ganjang gejang\u003c/em>…sucking salty, rich, custardy raw crab from its shell.”\u003c/p>\n\u003cp>Zauner’s food descriptions transport us to the table alongside her. On a college break, when her mother prepares \u003cem>galbi ssam\u003c/em>, the relief of being cared for with a meal attuned to one’s tastes radiates off the page: “Blissfully I laid my palm flat, blanketed it with a piece of lettuce, and dressed it just the way I liked — a piece of glistening short rib, a spoonful of warm rice, a dredge of \u003cem>ssamjang\u003c/em>, and a thin slice of raw garlic…I closed my eyes and savored the first few chews, my taste buds and stomach having been deprived of a home-cooked meal.”\u003c/p>\n\u003cp>It is this kind of care that Zauner attempts to repay for her mother when she is diagnosed with stage IV squamous-cell carcinoma in her stomach at age 56. After her mother’s diagnosis in May 2014, Zauner, then 25, moves home, ready to bolster Chongmi through chemotherapy with Korean cooking.\u003c/p>\n\u003cp>But chemo wrecks the appetite — I recall my mother being plagued with everything tasting as though it were laced with metal. During the first round of chemo, her mother can’t keep food down; during the second round, she develops mouth sores that make eating painful. When the chemo fails to shrink her tumor, Chongmi decides to forgo further treatment, having learned a lesson from her younger sister Eunmi, who died of colon cancer following 24 chemo treatments. In this, \u003cem>Crying in H Mart\u003c/em> is a rare acknowledgement of the ravages of cancer in a culture obsessed with seeing it as an enemy that can be battled with hope and strength.\u003c/p>\n\u003cp>Zauner carries the same clear-eyed frankness to writing about her mother’s death five months after her diagnosis. One chapter recounts her mother’s last days, unconscious at home, her breathing “a horrible sucking like the last sputtering of a coffeepot.” It is rare to read about a slow death in such detail, an odd gift in that it forces us to sit with mortality rather than turn away from it.\u003c/p>\n\u003cp>Also notable is that Chongmi’s death does not fall at the end of the book. It comes just past halfway through, allowing Zauner ample space to grapple with the immensity of her loss. One balm that emerges is reconnecting with her Korean identity through finally learning to cook the dishes she longed to make for her mother.\u003c/p>\n\u003cp>As a teen, Zauner drifted away from her Koreanness, effacing that side of her heritage for fear of being seen as other. In those same years, she shrunk from her mother’s need for control and constant wheedling. Just as they established their adult relationship — just as Zauner begun to embrace her mother’s culture — her mother died: “What would have been the most fruitful years of understanding were cut violently short, and I was left alone to decipher the secrets of inheritance without its key.”\u003c/p>\n\u003cp>Cooking becomes the key. Her teacher is Maangchi, described by \u003cem>The New York Times \u003c/em>as “YouTube’s Korean Julia Child.” In cooking, Zauner conjures ghosts: her aunt Eunmi munching on Korean fried chicken, her mother ordering more kimchi to go with knife-cut noodle soup in Seoul, her grandmother slurping black-bean noodles.\u003c/p>\n\u003cp>Near the end of the book, Zauner meditates on the process of fermenting kimchi, and how it allows cabbage to “enjoy a new life altogether.” She realizes that she needs to tend to her memories and heritage in the same way: “The culture that we shared was active, effervescent in my gut and in my genes, and I had to seize it, foster it so it did not die in me…If I could not be with my mother, I would be her.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What \u003cem>Crying in H Mart \u003c/em>reveals, though, is that in losing her mother and cooking to bring her back to life, Zauner became herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=A+Daughter+Grieves+Her+Mom%2C+And+Finds+Herself%2C+In+%27Crying+In+H+Mart%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking back at the early days of her career, \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> remembers times she didn’t feel whole. Navigating a mostly white indie rock scene since the late 2000s caused her to downplay aspects of her Vietnamese-ness in the face of covert and overt racism. And she wasn’t out as queer to everyone in her life, which made it impossible to share her full self with some of the people close to her.\u003c/p>\n\u003cp>After years of searching and processing, she’s arrived in a secure place where she lives proudly in her truth.\u003c/p>\n\u003cp>“With all this time off, I’ve had a lot of opportunity to think about what it was like to come up at the time that I did,” says the San Francisco musician, who leads indie rock outfit Thao and the Get Down Stay Down. “Even though 2007, 2008 doesn’t sound that far away, it was drastically different. The tolerance for racism was a lot higher. And there was a lot less that you could do about it—or that I could do about it—that I feel like I can do now.”\u003c/p>\n\u003cp>Her imperfect self-discovery process became the topic of 2020’s \u003cem>Temple\u003c/em>, her most personal and poignant album with the Get Down Stay Down, named one of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s top albums of that year\u003c/a>. The project’s driving, post-rock title track captures the feeling of coming home to oneself after denying a long-held pain. Nguyen wrote the song from the perspective of her parents fleeing the Vietnam war as refugees, contextualizing her own life journey in their stories; instead of blaming her parents for their shortcomings, she creates a visceral depiction of earth-shattering loss and survival that set the stage for her upbringing in Virginia. On the songs that follow, Nguyen sounds palpably fed up with diminishing herself to fit other people’s expectations. The instrumentation is at times raw and jagged, as if evolving in real time, and her lyrics express a yearning to be seen and appreciated.\u003c/p>\n\u003cfigure id=\"attachment_13893849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg\" alt=\"\" width=\"800\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1020x556.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-160x87.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-768x418.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1536x837.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen’s 2020 album ‘Temple’ saw her open up about her imperfect journey to embrace her identity. In her new newsletter, she’s sharing the creative process of her next album and deepening her Asian American advocacy work. \u003ccite>(Eric Einwiller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Temple\u003c/em> was as much about being Vietnamese as much as it was being proudly queer,” says Nguyen. “And that aspect, especially now given the incredibly harrowing and disturbing rise in violence towards Asian people due to all that rhetoric and racist fear mongering—I think the next album will have a lot more to do with my Asian American identity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This vulnerable new stage in her songwriting led Nguyen to her latest project: earlier this week, she launched a Substack newsletter called \u003ca href=\"https://www.thaofortherecord.community/p/coming-soon\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>For the Record\u003c/em>\u003c/a>. With weekly free content and additional dispatches for paid subscribers, Nguyen is opening up her creative process for the tight-knit community of fans as she embarks on her next album. [aside postid='arts_13892437']\u003c/p>\n\u003cp>“It’s almost like me being able to have an independent media company entity, and I can maintain my autonomy in a lot of ways,” Nguyen says.\u003c/p>\n\u003cp>\u003cem>For the Record\u003c/em> will include essays, poems, new tracks, performance videos, Q&As with fans and other behind-the-scenes content. Like many independent artists, Nguyen has had to step into new creative roles to continue to connect with fans online in lieu of live performance, which she previously relied on to make a living. [aside postid='arts_13891311']\u003c/p>\n\u003cp>Nguyen released \u003cem>Temple\u003c/em> in May 2020, when the realization set in that the COVID-19 lockdown would last much longer than a couple of months. In the past year, the concert industry independent artists relied on has been decimated, exposing just how devalued recorded music had become. (To earn the equivalent of full-time work at $15 an hour, an artist needs to get 657,895 Spotify streams a month, according to \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s calculations\u003c/a>.) Artists at Nguyen’s level, who have devoted followings but aren’t chart toppers, have had to get creative about harnessing monetary support from their fan bases. [aside postid='arts_13890093']\u003c/p>\n\u003cp>“I’ve been cranky about it in the past, but at a certain point, you figure out how nimble you wanna be and how you wanna adapt, what you’re willing to do and what you’re not willing to do to adjust to the realities of the way music is disseminated,” she says. “I’m so grateful to be able to rely on the relationships I’ve built with fans over the last 15 years. So Substack, a platform where you can directly rely and foster and continue to enrich that relationship with people who support you, is something I’m really interested in.”\u003c/p>\n\u003cp>Despite its challenges, the last year provided opportunities for Nguyen to align further with her purpose. She performed an NPR Tiny Desk Concert from her San Francisco home with her neighbors on cello, where she addressed the Vietnamese American community about building solidarity with the Black Lives Matter movement. She began working with the \u003ca href=\"https://www.pivotnetwork.org/mission\" target=\"_blank\" rel=\"noopener noreferrer\">Progressive Vietnamese American Organization\u003c/a>, and volunteered and fundraised for numerous get-out-the-vote campaigns.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ooC7TOr5m0\u003c/p>\n\u003cp>“I was really grateful to receive messages from people … thanking me for being a proud member of the Vietnamese American community or being queer and Vietnamese,” Nguyen says. “There were so many points of real candor and connection.”\u003c/p>\n\u003cp>Indeed, Nguyen’s straightforwardness is refreshing. While media is full of stories of barrier-busting girl bosses—or on the flip side, depictions of people of color that focus exclusively on trauma—Nguyen takes a more nuanced approach in the way she opens up about her process of becoming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted to be specific and present the realities of all the different complexities and conflicts within trying to negotiate a lot of different things, and to acknowledge the challenges I’ve had in my own family and my own community,” she says. “I had gone a long time without acknowledging any of it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back at the early days of her career, \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> remembers times she didn’t feel whole. Navigating a mostly white indie rock scene since the late 2000s caused her to downplay aspects of her Vietnamese-ness in the face of covert and overt racism. And she wasn’t out as queer to everyone in her life, which made it impossible to share her full self with some of the people close to her.\u003c/p>\n\u003cp>After years of searching and processing, she’s arrived in a secure place where she lives proudly in her truth.\u003c/p>\n\u003cp>“With all this time off, I’ve had a lot of opportunity to think about what it was like to come up at the time that I did,” says the San Francisco musician, who leads indie rock outfit Thao and the Get Down Stay Down. “Even though 2007, 2008 doesn’t sound that far away, it was drastically different. The tolerance for racism was a lot higher. And there was a lot less that you could do about it—or that I could do about it—that I feel like I can do now.”\u003c/p>\n\u003cp>Her imperfect self-discovery process became the topic of 2020’s \u003cem>Temple\u003c/em>, her most personal and poignant album with the Get Down Stay Down, named one of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s top albums of that year\u003c/a>. The project’s driving, post-rock title track captures the feeling of coming home to oneself after denying a long-held pain. Nguyen wrote the song from the perspective of her parents fleeing the Vietnam war as refugees, contextualizing her own life journey in their stories; instead of blaming her parents for their shortcomings, she creates a visceral depiction of earth-shattering loss and survival that set the stage for her upbringing in Virginia. On the songs that follow, Nguyen sounds palpably fed up with diminishing herself to fit other people’s expectations. The instrumentation is at times raw and jagged, as if evolving in real time, and her lyrics express a yearning to be seen and appreciated.\u003c/p>\n\u003cfigure id=\"attachment_13893849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg\" alt=\"\" width=\"800\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1020x556.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-160x87.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-768x418.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1536x837.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen’s 2020 album ‘Temple’ saw her open up about her imperfect journey to embrace her identity. In her new newsletter, she’s sharing the creative process of her next album and deepening her Asian American advocacy work. \u003ccite>(Eric Einwiller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Temple\u003c/em> was as much about being Vietnamese as much as it was being proudly queer,” says Nguyen. “And that aspect, especially now given the incredibly harrowing and disturbing rise in violence towards Asian people due to all that rhetoric and racist fear mongering—I think the next album will have a lot more to do with my Asian American identity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This vulnerable new stage in her songwriting led Nguyen to her latest project: earlier this week, she launched a Substack newsletter called \u003ca href=\"https://www.thaofortherecord.community/p/coming-soon\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>For the Record\u003c/em>\u003c/a>. With weekly free content and additional dispatches for paid subscribers, Nguyen is opening up her creative process for the tight-knit community of fans as she embarks on her next album. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nguyen released \u003cem>Temple\u003c/em> in May 2020, when the realization set in that the COVID-19 lockdown would last much longer than a couple of months. In the past year, the concert industry independent artists relied on has been decimated, exposing just how devalued recorded music had become. (To earn the equivalent of full-time work at $15 an hour, an artist needs to get 657,895 Spotify streams a month, according to \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s calculations\u003c/a>.) Artists at Nguyen’s level, who have devoted followings but aren’t chart toppers, have had to get creative about harnessing monetary support from their fan bases. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve been cranky about it in the past, but at a certain point, you figure out how nimble you wanna be and how you wanna adapt, what you’re willing to do and what you’re not willing to do to adjust to the realities of the way music is disseminated,” she says. “I’m so grateful to be able to rely on the relationships I’ve built with fans over the last 15 years. So Substack, a platform where you can directly rely and foster and continue to enrich that relationship with people who support you, is something I’m really interested in.”\u003c/p>\n\u003cp>Despite its challenges, the last year provided opportunities for Nguyen to align further with her purpose. She performed an NPR Tiny Desk Concert from her San Francisco home with her neighbors on cello, where she addressed the Vietnamese American community about building solidarity with the Black Lives Matter movement. She began working with the \u003ca href=\"https://www.pivotnetwork.org/mission\" target=\"_blank\" rel=\"noopener noreferrer\">Progressive Vietnamese American Organization\u003c/a>, and volunteered and fundraised for numerous get-out-the-vote campaigns.\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/2ooC7TOr5m0'\n title='//www.youtube.com/embed/2ooC7TOr5m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was really grateful to receive messages from people … thanking me for being a proud member of the Vietnamese American community or being queer and Vietnamese,” Nguyen says. “There were so many points of real candor and connection.”\u003c/p>\n\u003cp>Indeed, Nguyen’s straightforwardness is refreshing. While media is full of stories of barrier-busting girl bosses—or on the flip side, depictions of people of color that focus exclusively on trauma—Nguyen takes a more nuanced approach in the way she opens up about her process of becoming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted to be specific and present the realities of all the different complexities and conflicts within trying to negotiate a lot of different things, and to acknowledge the challenges I’ve had in my own family and my own community,” she says. “I had gone a long time without acknowledging any of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hey, you. Yeah, you! The one doomscrolling for clues about how the swing states are voting. While we understand that is mostly what you’ll be doing for the next few days, we’ve called you in here to distract you for 10 minutes. Because mental health breaks are as important as this election. So please, turn off your news source of choice (and your brain) and follow the instructions below if you want to get that tension out of your shoulders.\u003c/p>\n\u003cp>First, ease into the break by hitting play on this gorgeous Karen O and Willie Nelson cover of “Under Pressure.” Close your eyes, take some deep breaths, and listen to a song that acknowledges your stress, then asks you to leave it behind.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MEU-7uga_4A&\u003c/p>\n\u003cp>Now, sit back, relax and enjoy this evidence that miracles do happen.\u003c/p>\n\u003cp>https://twitter.com/NPR/status/1323433480173326337\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, look! It’s Bob Ross feeding a baby squirrel named Peapod!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpNrn0_97LM\u003c/p>\n\u003cp>And some pictures of animals that are happy and adorable even though they’re all bald:\u003c/p>\n\u003cfigure id=\"attachment_13888834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888834\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/bald-animals-800x800.jpg\" alt=\"Hairless animal stars from Instagram: (top row) Mr. Bigglesworth the rabbit, Georgie the Guinea Pig; (Bottom row): Norman the American Hairless Terrier and Blondie the Lovebird.\" width=\"800\" height=\"800\">\u003cfigcaption class=\"wp-caption-text\">Hairless animal stars from Instagram. Top row: @mrbigglesworthrabbit and @adventuresofgeorgieandfrankie. Bottom row: @norman_aht and @blondie_thelovebird.\u003c/figcaption>\u003c/figure>\n\u003cp>Now here’s a baby sloth taking a bath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xx_U3CUCBkY\u003c/p>\n\u003cp>And \u003ca href=\"https://www.kqed.org/arts/13886027/sir-patrick-stewart-reading-sonnets-is-a-soothing-balm-in-2020s-hellscape\" target=\"_blank\" rel=\"noopener noreferrer\">Sir Patrick Stewart reading\u003c/a> a Shakespearean sonnet to his dog. (Her name is Zoe.)\u003c/p>\n\u003cp>https://twitter.com/SirPatStew/status/1311466309222195200\u003c/p>\n\u003cp>Now seems like a good time to listen to some baby bears purring.\u003c/p>\n\u003cp>https://twitter.com/JohnFusco12/status/1309309516798996480\u003c/p>\n\u003cp>And look at this rare yellow turtle’s derpy little face.\u003c/p>\n\u003cp>https://twitter.com/deva_iitkgp/status/1321105721874771968\u003c/p>\n\u003cp>If that little fella got you in the mood for some color, watch San Diego artist \u003ca href=\"https://www.instagram.com/boelterdesignco/\" target=\"_blank\" rel=\"noopener noreferrer\">@boelterdesignco\u003c/a>, at work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=27kpbMOspro\u003c/p>\n\u003cp>Now we’ll bring you back to reality the gentlest way we possibly can. It’s Leslie Sbrocco from \u003ca href=\"https://www.kqed.org/checkplease\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Check Please!\u003c/em>\u003c/a> talking about sparkling wines with a very nice Spanish lady.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VjIsntxCPFk\u003c/p>\n\u003cp>And as you go back the rest of your very stressful day, might we recommend following \u003ca href=\"https://www.tiktok.com/@dedosbailarines1\" target=\"_blank\" rel=\"noopener noreferrer\">@dedosbailarines1 on TikTok\u003c/a>? The finger-dancing channel is just the right combination of surreal, clever and stupid you’ll probably need to get through the rest of the week.\u003c/p>\n\u003cp>One final tip… If you find yourself in a fit of insomnia tonight, there’s always Cardi B. doing ASMR…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HUMygkRhB88\u003c/p>\n\n",
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"content": "\u003cp>No, \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> did not spend her quarantine nurturing her sourdough starter or tie-dying old sweaters. Nor did she use the period to \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">re-record her catalog\u003c/a> as promised last year after a label dispute. Instead Swift quietly spent \u003ca href=\"https://twitter.com/taylorswift13/status/1258448468907081728\" target=\"_blank\" rel=\"noopener noreferrer\">self-isolation\u003c/a> \u003ca href=\"https://twitter.com/taylorswift13/status/1254880164447760385\" target=\"_blank\" rel=\"noopener noreferrer\">at work\u003c/a> on a new album, \u003cem>Folklore\u003c/em>, released at midnight on July 24.\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2fenSS68JI1h4Fo296JfGr\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">Announced\u003c/a> with just 16 hours notice, Swift’s eighth studio album finds her again collaborating on a handful of tracks with \u003ca href=\"https://www.npr.org/2017/09/12/549142219/bleachers-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a>, who she called, in a social media post \u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">announcing the album’s existence\u003c/a> yesterday, “basically musical family at this point.” But her main collaborator across the album is a new one: Aaron Dessner of \u003ca href=\"https://www.npr.org/artists/15161426/the-national\" target=\"_blank\" rel=\"noopener noreferrer\">The National\u003c/a> co-wrote or produced 11 of its 16 tracks. \u003cem>Folklore\u003c/em> also features a track with \u003ca href=\"https://www.npr.org/artists/18073513/bon-iver\" target=\"_blank\" rel=\"noopener noreferrer\">Bon Iver\u003c/a>, plus orchestration from a cohort of frequent Dessner collaborators, including brother Bryce Dessner and bandmate Bryan Devendorf, along with \u003ca href=\"https://www.npr.org/2020/03/02/811298534/bonny-light-horseman-makes-new-folk-music-inspired-by-the-spirit-of-old-folk\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Kaufman\u003c/a>, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2012/02/15/146948792/ymusic-joyful-virtuosity-for-spinning-on-air\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Moose\u003c/a>, \u003ca href=\"https://www.npr.org/artists/597087913/clarice-jensen\" target=\"_blank\" rel=\"noopener noreferrer\">Clarice Jensen\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16109579/doveman\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bartlett\u003c/a>, among others. (Can we expect an appearance from Swift at \u003ca href=\"https://eauxclaires.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eaux Claires\u003c/a> or \u003ca href=\"https://www.facebook.com/havenkbh/\" target=\"_blank\" rel=\"noopener noreferrer\">HAVEN\u003c/a> someday?)\u003c/p>\n\u003cp>\u003cem>Folklore\u003c/em> applies Swift’s signature lyrical style—richly and carefully detailed, rife with knowing callbacks—to a new palette informed by Dessner’s work. Skittering instrumentation proves a match for Swift’s use of \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/10/562360434/the-old-taylors-not-dead\" target=\"_blank\" rel=\"noopener noreferrer\">speak-song cadence\u003c/a>; meditative piano and horns offer a cinematic soundscape for explorations of character that move beyond autobiography. Much of Swift’s catalog has been scrutinized by listeners looking for parallels between lyrical melodrama and real-life events—looking for clues in tossed off mentions of scarves and necklaces. \u003cem>Folklore\u003c/em> features songs that explore points of view that seem to diverge from Swift’s life, including third-person narratives. \u003cem>Folklore\u003c/em> explores a more restrained type of Swiftian expression that’s no less exciting than her massive pop singles. She’s synthesizing influences (is \u003ca href=\"https://en.wikipedia.org/wiki/Boxer_(The_National_album)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxer\u003c/em>\u003c/a> the “indie record” of \u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">“We Are Never Getting Back Together”\u003c/a> fame?) that she’s cited over the years, even if they hadn’t been clear in her discography up to this point.\u003c/p>\n\u003cp>Though Swift skipped her typical \u003ca href=\"https://www.npr.org/2019/04/26/717346125/watch-taylor-swifts-video-for-me-featuring-brendon-urie\" target=\"_blank\" rel=\"noopener noreferrer\">pre-album fanfare\u003c/a> ahead of \u003cem>Folklore\u003c/em>, sleuthing fans quickly identified a few \u003ca href=\"https://www.npr.org/2020/02/27/809983814/taylor-swift-man\" target=\"_blank\" rel=\"noopener noreferrer\">Easter eggs\u003c/a> in the short time between the album’s announcement and its release. William Bowery, who is credited with co-writing two tracks, doesn’t appear to have credits that predate this work, prompting some to speculate that it’s a pseudonym. It wouldn’t be the first case of secret identity in her work: Swift used the name Nils Sjöberg for her work on Calvin Harris’ 2016 song “This Is What You Came For.” Swifties also speculated this spring when the artist \u003ca href=\"https://twitter.com/taylorswift13/status/1264740730771300359\" target=\"_blank\" rel=\"noopener noreferrer\">praised a cover\u003c/a> of “Look What You Made Me Do” featured on \u003cem>Killing Eve \u003c/em>attributed to Jack Leopards & The Dolphin Club, widely assumed to be Swift’s brother Austin.\u003c/p>\n\u003cp>Swift has never gone longer than a few years without releasing a new album, but the brief 11-month gap between \u003cem>Lover\u003c/em> and \u003cem>Folklore\u003c/em>—with no real tour between—is unprecedented in her career. In a statement, Swift explained, “Most of the things I had planned this summer didn’t end up happening.” Earlier this year, Swift announced that she’d be \u003ca href=\"https://twitter.com/taylorswift13/status/1251193743912456192\" target=\"_blank\" rel=\"noopener noreferrer\">rescheduling her Lover Fest shows\u003c/a> in Foxborough, Mass., and Inglewood, Calif., due to the global pandemic. She was also slated to headline the \u003ca href=\"https://www.theguardian.com/music/2020/jun/25/michael-eavis-glastonbury-will-go-bankrupt-if-it-cant-be-staged-in-2021-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Glastonbury Festival\u003c/a> for what would have been the event’s 50th anniversary before the festival was cancelled in mid-March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time,” Swift wrote in her message announcing the album. “But the times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.”\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=Stream+Taylor+Swift%27s+New+Album%2C+%27Folklore%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No, \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> did not spend her quarantine nurturing her sourdough starter or tie-dying old sweaters. Nor did she use the period to \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">re-record her catalog\u003c/a> as promised last year after a label dispute. Instead Swift quietly spent \u003ca href=\"https://twitter.com/taylorswift13/status/1258448468907081728\" target=\"_blank\" rel=\"noopener noreferrer\">self-isolation\u003c/a> \u003ca href=\"https://twitter.com/taylorswift13/status/1254880164447760385\" target=\"_blank\" rel=\"noopener noreferrer\">at work\u003c/a> on a new album, \u003cem>Folklore\u003c/em>, released at midnight on July 24.\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2fenSS68JI1h4Fo296JfGr\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">Announced\u003c/a> with just 16 hours notice, Swift’s eighth studio album finds her again collaborating on a handful of tracks with \u003ca href=\"https://www.npr.org/2017/09/12/549142219/bleachers-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a>, who she called, in a social media post \u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">announcing the album’s existence\u003c/a> yesterday, “basically musical family at this point.” But her main collaborator across the album is a new one: Aaron Dessner of \u003ca href=\"https://www.npr.org/artists/15161426/the-national\" target=\"_blank\" rel=\"noopener noreferrer\">The National\u003c/a> co-wrote or produced 11 of its 16 tracks. \u003cem>Folklore\u003c/em> also features a track with \u003ca href=\"https://www.npr.org/artists/18073513/bon-iver\" target=\"_blank\" rel=\"noopener noreferrer\">Bon Iver\u003c/a>, plus orchestration from a cohort of frequent Dessner collaborators, including brother Bryce Dessner and bandmate Bryan Devendorf, along with \u003ca href=\"https://www.npr.org/2020/03/02/811298534/bonny-light-horseman-makes-new-folk-music-inspired-by-the-spirit-of-old-folk\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Kaufman\u003c/a>, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2012/02/15/146948792/ymusic-joyful-virtuosity-for-spinning-on-air\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Moose\u003c/a>, \u003ca href=\"https://www.npr.org/artists/597087913/clarice-jensen\" target=\"_blank\" rel=\"noopener noreferrer\">Clarice Jensen\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16109579/doveman\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bartlett\u003c/a>, among others. (Can we expect an appearance from Swift at \u003ca href=\"https://eauxclaires.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eaux Claires\u003c/a> or \u003ca href=\"https://www.facebook.com/havenkbh/\" target=\"_blank\" rel=\"noopener noreferrer\">HAVEN\u003c/a> someday?)\u003c/p>\n\u003cp>\u003cem>Folklore\u003c/em> applies Swift’s signature lyrical style—richly and carefully detailed, rife with knowing callbacks—to a new palette informed by Dessner’s work. Skittering instrumentation proves a match for Swift’s use of \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/10/562360434/the-old-taylors-not-dead\" target=\"_blank\" rel=\"noopener noreferrer\">speak-song cadence\u003c/a>; meditative piano and horns offer a cinematic soundscape for explorations of character that move beyond autobiography. Much of Swift’s catalog has been scrutinized by listeners looking for parallels between lyrical melodrama and real-life events—looking for clues in tossed off mentions of scarves and necklaces. \u003cem>Folklore\u003c/em> features songs that explore points of view that seem to diverge from Swift’s life, including third-person narratives. \u003cem>Folklore\u003c/em> explores a more restrained type of Swiftian expression that’s no less exciting than her massive pop singles. She’s synthesizing influences (is \u003ca href=\"https://en.wikipedia.org/wiki/Boxer_(The_National_album)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxer\u003c/em>\u003c/a> the “indie record” of \u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">“We Are Never Getting Back Together”\u003c/a> fame?) that she’s cited over the years, even if they hadn’t been clear in her discography up to this point.\u003c/p>\n\u003cp>Though Swift skipped her typical \u003ca href=\"https://www.npr.org/2019/04/26/717346125/watch-taylor-swifts-video-for-me-featuring-brendon-urie\" target=\"_blank\" rel=\"noopener noreferrer\">pre-album fanfare\u003c/a> ahead of \u003cem>Folklore\u003c/em>, sleuthing fans quickly identified a few \u003ca href=\"https://www.npr.org/2020/02/27/809983814/taylor-swift-man\" target=\"_blank\" rel=\"noopener noreferrer\">Easter eggs\u003c/a> in the short time between the album’s announcement and its release. William Bowery, who is credited with co-writing two tracks, doesn’t appear to have credits that predate this work, prompting some to speculate that it’s a pseudonym. It wouldn’t be the first case of secret identity in her work: Swift used the name Nils Sjöberg for her work on Calvin Harris’ 2016 song “This Is What You Came For.” Swifties also speculated this spring when the artist \u003ca href=\"https://twitter.com/taylorswift13/status/1264740730771300359\" target=\"_blank\" rel=\"noopener noreferrer\">praised a cover\u003c/a> of “Look What You Made Me Do” featured on \u003cem>Killing Eve \u003c/em>attributed to Jack Leopards & The Dolphin Club, widely assumed to be Swift’s brother Austin.\u003c/p>\n\u003cp>Swift has never gone longer than a few years without releasing a new album, but the brief 11-month gap between \u003cem>Lover\u003c/em> and \u003cem>Folklore\u003c/em>—with no real tour between—is unprecedented in her career. In a statement, Swift explained, “Most of the things I had planned this summer didn’t end up happening.” Earlier this year, Swift announced that she’d be \u003ca href=\"https://twitter.com/taylorswift13/status/1251193743912456192\" target=\"_blank\" rel=\"noopener noreferrer\">rescheduling her Lover Fest shows\u003c/a> in Foxborough, Mass., and Inglewood, Calif., due to the global pandemic. She was also slated to headline the \u003ca href=\"https://www.theguardian.com/music/2020/jun/25/michael-eavis-glastonbury-will-go-bankrupt-if-it-cant-be-staged-in-2021-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Glastonbury Festival\u003c/a> for what would have been the event’s 50th anniversary before the festival was cancelled in mid-March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Even if you haven’t yet \u003ca href=\"https://www.kqed.org/arts/13877597/have-you-accepted-zoom-as-your-lord-and-savior\" rel=\"noopener noreferrer\" target=\"_blank\">accepted Zoom as your Lord and savior\u003c/a>, you’ve probably seen the video-conferencing app used in \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DavidMarks.ThisisFine.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">creative ways\u003c/a> during the coronavirus-induced shutdown. \u003c/p>\n\u003cp>And then there’s Thao Nguyen, the Bay Area musician who’s made the first music video shot entirely on Zoom. (That \u003ca href=\"https://www.kqed.org/arts/13878141/watch-the-hamilton-cast-reunite-for-one-lucky-9-year-old\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Hamilton\u003c/em> thing\u003c/a> was pre-recorded and spliced together, folks.) In her latest video with \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thao & the Get Down Stay Down\u003c/a>, Nguyen takes the platform into an entirely new world of possibility. \u003c/p>\n\u003cp>“Due to the California stay-at-home order we very much agree with, this music video was made entirely on Zoom,” Nguyen wrote upon its release. “It was conceived of and made within one week from March 23-30, 2020.”\u003c/p>\n\u003cp>Watch above as Nguyen performs “Phenom” with unison choreography, synchronized effects, and… ah, I’ll just let you watch it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you haven’t yet \u003ca href=\"https://www.kqed.org/arts/13877597/have-you-accepted-zoom-as-your-lord-and-savior\" rel=\"noopener noreferrer\" target=\"_blank\">accepted Zoom as your Lord and savior\u003c/a>, you’ve probably seen the video-conferencing app used in \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DavidMarks.ThisisFine.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">creative ways\u003c/a> during the coronavirus-induced shutdown. \u003c/p>\n\u003cp>And then there’s Thao Nguyen, the Bay Area musician who’s made the first music video shot entirely on Zoom. (That \u003ca href=\"https://www.kqed.org/arts/13878141/watch-the-hamilton-cast-reunite-for-one-lucky-9-year-old\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Hamilton\u003c/em> thing\u003c/a> was pre-recorded and spliced together, folks.) In her latest video with \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thao & the Get Down Stay Down\u003c/a>, Nguyen takes the platform into an entirely new world of possibility. \u003c/p>\n\u003cp>“Due to the California stay-at-home order we very much agree with, this music video was made entirely on Zoom,” Nguyen wrote upon its release. “It was conceived of and made within one week from March 23-30, 2020.”\u003c/p>\n\u003cp>Watch above as Nguyen performs “Phenom” with unison choreography, synchronized effects, and… ah, I’ll just let you watch it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike",
"headTitle": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike | KQED",
"content": "\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes plays night six of the Noise Pop Music and Arts Festival at the Swedish American Hall on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes plays night six of the Noise Pop Music and Arts Festival at the Swedish American Hall on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Five Concerts Not to Miss at Noise Pop 2020",
"headTitle": "Five Concerts Not to Miss at Noise Pop 2020 | KQED",
"content": "\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts not to miss.\u003c/p>\n\u003cp>https://youtu.be/Zgjrt12QTVQ\u003c/p>\n\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/RVfIJ2jZFcM\u003c/p>\n\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\u003c/p>\n\u003cp>https://youtu.be/OcK5JLyPLM0\u003c/p>\n\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\u003c/p>\n\u003cp>https://youtu.be/6XDJ7exN12U\u003c/p>\n\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n",
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"excerpt": "The multi-genre festival lights up the Bay Area's nightlife scene with dozens of shows Feb. 24–March 1.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts not to miss.\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/Zgjrt12QTVQ'\n title='//www.youtube.com/embed/Zgjrt12QTVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\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/RVfIJ2jZFcM'\n title='//www.youtube.com/embed/RVfIJ2jZFcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\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/OcK5JLyPLM0'\n title='//www.youtube.com/embed/OcK5JLyPLM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\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/6XDJ7exN12U'\n title='//www.youtube.com/embed/6XDJ7exN12U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\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/Kl7VlI3eUs4'\n title='//www.youtube.com/embed/Kl7VlI3eUs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Music For Our Climate Emergency | KQED",
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"content": "\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpWftLOWXLY\u003c/p>\n\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=94bdMSCdw20\u003c/p>\n\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mcPDgWMkEiM\u003c/p>\n\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=3&v=3u4Pe2YHH-Y&feature=emb_logo\u003c/p>\n\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Po61rjjdUPs\u003c/p>\n\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4W9VYY5QpLg\u003c/p>\n\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’m not hoping to shine a light on something for anybody. Everything that needs to be said is being said really clearly,” says Mills, referring to scientists and policy experts who know and can articulate what he cannot. “But my song is about how we’re reacting to that information. And despair in music can help soak up the despair of the people listening.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Music+For+Our+Emergency&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Thunberg did not sail across the Atlantic Ocean\u003ca href=\"https://news.un.org/en/story/2019/08/1045161\"> for two weeks\u003c/a> to become a lead singer. But, just days after the 16-year-old proselytizer\u003ca href=\"https://www.npr.org/2019/09/23/763452863/transcript-greta-thunbergs-speech-at-the-u-n-climate-action-summit\"> censured\u003c/a> a room of world leaders many times her age for their shared “fairy tales of eternal economic growth,” the internet made her one, anyway.\u003c/p>\n\u003cp>The most impassioned moments of Thunberg’s September sermon at the United Nations quickly sprouted musical memes. In New York, a drummer \u003ca href=\"https://www.rollingstone.com/culture/culture-news/greta-thunberg-swedish-death-metal-892000/\">growled\u003c/a> her words above relentless Swedish death metal, a nod to her homeland that doubled as a fundraising blunderbuss for Greenpeace. Two producers turned the speech into bombastic electronica, with roaring choirs and stomping boots\u003ca href=\"https://www.youtube.com/watch?v=5GOoajKDIME\"> set to scenes\u003c/a> of forests burning and children marching. And another\u003ca href=\"https://www.youtube.com/watch?v=ABIbH-LtpFs\"> mashed\u003c/a> the day’s \u003cem>cri de cœur\u003c/em>—”Right here, right now is where we draw the line.”—with the Fatboy Slim hit “Right Here, Right Now.” Just days later, Slim himself slipped it into a live set, \u003ca href=\"https://www.youtube.com/watch?v=bWvFcR7UtAI\">sending \u003c/a>his audience into a tizzy.\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/zpWftLOWXLY'\n title='//www.youtube.com/embed/zpWftLOWXLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Environmentalism in music is nothing new, of course. A full quarter-century before James Hansen \u003ca href=\"https://www.nytimes.com/1988/06/24/us/global-warming-has-begun-expert-tells-senate.html\">told Congress\u003c/a> that humans were changing their climate, Peter La Farge, an indigenous songwriter from the Southwest, repeatedly warned of environmental devastation on 1963’s\u003ca href=\"https://folkways.si.edu/peter-la-farge/as-long-as-the-grass-shall-grow-sings-of-the-indians/american-folk-american-indian/music/album/smithsonian\"> \u003cem>As Long as the Grass Shall\u003c/em> \u003cem>Grow\u003c/em>\u003c/a>, a remarkable album of Native American laments about the various plagues of pioneers. From Joni Mitchell \u003ca href=\"https://www.youtube.com/watch?v=94bdMSCdw20\">singing\u003c/a> of the birds, bees and DDT to Neil Young\u003ca href=\"https://www.youtube.com/watch?v=33N8M6tQ4e0\"> rhapsodizing\u003c/a> of “Mother Earth / and her healing ways” in 1990 (or\u003ca href=\"https://www.youtube.com/watch?v=LaaJCJvFP9M\"> grousing\u003c/a> about “old white guys trying to kill mother nature” in 2019), the stars of the ’60s and ’70s have often stepped into a\u003ca href=\"https://www.nrdc.org/stories/story-silent-spring\"> post-\u003cem>Silent Spring\u003c/em>\u003c/a> fray.\u003c/p>\n\u003cp>It’s never stopped, really: Depeche Mode\u003ca href=\"https://www.youtube.com/watch?v=VwS5WexDVHI\"> sang\u003c/a> of forests dying and streams putrefying in 1983, presciently alluding to climate-science deniers. One of Dave Matthews’ earliest songs, “\u003ca href=\"https://www.youtube.com/watch?v=sdLj0c9iaEA\">One Sweet World\u003c/a>,” inspired a Ben & Jerry’s flavor that has raised tens of thousands of dollars for an\u003ca href=\"http://saveourenvironment.org/\"> environmental coalition\u003c/a>. There are\u003ca href=\"https://www.youtube.com/watch?v=I3skR9wQL8s\"> entire milieus\u003c/a> of metal and punk devoted to socioecological unsustainability, realms where\u003ca href=\"https://www.youtube.com/watch?v=8uiADLX1ZXc\"> nuclear weapons\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=3QjXtrQKf88\"> animal agriculture\u003c/a> share culpability. On her second album, Miley Cyrus wrote a\u003ca href=\"https://www.youtube.com/watch?v=YNEZp8BWGEU\"> rock song\u003c/a> about “going green,” while Anohni sardonically\u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\"> longed\u003c/a> for it all to burn—”dogs crying for water… fish go belly-up in the sea”—above demonic horns and militant drums on “4 Degrees.” Mos Def has\u003ca href=\"https://www.youtube.com/watch?v=2N5Bk8FMw9Y\"> rapped\u003c/a> about the money-hungry ruining the water supply. And even Smash Mouth tried to alarm us about the corroding ozone layer and melting ice shelf during “All Star,” that song from\u003ca href=\"https://www.youtube.com/watch?v=Uo2SNtFofWI\"> \u003cem>Shrek\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thunberg’s unlikely ascendance as a source of inspiring samples highlights something that’s missing: a song that helps us sort through our globally mounting anxiety about climate change and our role in our own potential doom, an actual anthem that propels people towards action. Despite its news-cycle ubiquity and increasing threat of globe-altering impacts, songs touching on climate change have rarely crossed the threshold of the mainstream, existing instead as a distant flicker on the radar of our collective awareness. “Big Yellow Taxi,” perhaps as close as we’ve gotten to a unifying environmental ode, turns 50 next year; it’s been so ubiquitous for so long it feels as pat as an advertising jingle.\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/94bdMSCdw20'\n title='//www.youtube.com/embed/94bdMSCdw20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last few years, however, global warming and the intense feelings it fosters have begun to creep subtly into lyrics where you may overlook them, a quiet corollary to a movement \u003ca href=\"https://pitchfork.com/thepitch/how-experimental-musicians-are-soundtracking-the-end-of-the-world/\">spider-webbing\u003c/a> through electronic music. Songwriters are increasingly treating climate unease like the very air we breathe or the technology we use—a part of life with which we must reckon and reconcile, like love or lust or loss.\u003c/p>\n\u003cp>These new tunes aren’t protest songs as we think of them, and they don’t shoehorn motivational slogans into their choruses; they are reflections of a reality lived under the specter of global collapse, the evidence of our personal adjustments to an anxiously indeterminate present and future. And their writers, unlike Thunberg, aren’t looking to proselytize to world leaders or to synthesize scientific research into an empowering single—they’re not the experts, after all. They’re just people offering others a way to sort through what’s happening, even to mourn what’s already been lost. It’s the difference between a command and a confession, a lecture and a conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“We’re afraid of darkness. We’re afraid of endings. We’re afraid of death,”\u003c/strong> says Tamara Lindeman, a Canadian singer whose work as The Weather Station has started \u003ca href=\"https://theweatherstation.bandcamp.com/track/the-most-dangerous-thing-about-you\">to integrate\u003c/a> snippets of impending disaster into her songs. Her next album, due in 2020, commits to the subject. “To look at something so profoundly devastating is so scary, but it’s powerful if you can allow yourself to feel those feelings. You can stop hiding from it. Having that experience through art is healthy.”\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/mcPDgWMkEiM'\n title='//www.youtube.com/embed/mcPDgWMkEiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of these newer songs confront global warming like a mammoth sparring partner, squaring up to the subject wielding rhetoric like fists. Andrew Bird’s “\u003ca href=\"https://www.youtube.com/watch?v=Pv68Kivrl5g\">Manifest\u003c/a>” sounds as breezy as a Sunday stroll through the Laurel Canyon, with licks of whistling and gliding strings. But in the first verse, he renounces the United States’ westward sprawl, condemning a country of unfaithful stewards. He gazes at the ocean with anxiety and ponders the way we burn ancient organisms—the fossils in our fossil fuels—just to drive to the grocery store. During 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=X_UKDPR7k_E\">Generation Why\u003c/a>,” Weyes Blood offers her fearful vision like she’s reading the evening news: “It’s not the past that scares me / Now what a great future this is gonna be.” She spells out “YOLO” during the hook, her mind caught in the evermore-tight vice between modern indulgence and future existence.\u003c/p>\n\u003cp>Others, though, are almost subliminal in their climate change invocations. Justin Vernon hides his worry in plain sight during Bon Iver’s “\u003ca href=\"https://www.youtube.com/watch?v=oIzFg4eEvbQ\">Holyfields\u003c/a>.” With his clutched falsetto, he renders “The dawn is rising / the land ain’t rising” almost as an aside, as if the circumstances of\u003ca href=\"https://www.washingtonpost.com/lifestyle/kidspost/high-tides-flood-venice-for-third-time-in-one-week/2019/11/18/ad73a1f8-0701-11ea-ac12-3325d49eacaa_story.html\"> modern Venice\u003c/a> and\u003ca href=\"https://www.nytimes.com/interactive/2019/10/29/climate/coastal-cities-underwater.html\"> future\u003c/a> Mumbai, Bangkok and Miami are so obvious they’re best left coded. Lana Del Rey slips her own stark observations into the final verse of “\u003ca href=\"https://www.youtube.com/watch?v=LrSX_OcpeJg\">The Greatest\u003c/a>,” calmly inserting a note about wildfires and eternal heat waves between lines about Kanye West’s blond hair and Hawaii’s bomb scare. On a song where “the culture is lit,” it’s a lyrical detail that’s easy to miss—just as it’s possible to overlook that, on the album’s \u003ca href=\"https://images.app.goo.gl/NyMxNWrxnBe1idkz5\">cover\u003c/a>, California is burning.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Blake Mills knows that coastline in flames well.\u003c/strong>\u003c/p>\n\u003cp>Born in Santa Monica and raised in Malibu, the songwriter and star producer, once\u003ca href=\"https://www.nytimes.com/2014/09/16/arts/music/blake-mills-releases-his-second-album-heigh-ho.html\"> called\u003c/a> “the last guitarist I heard that I thought was phenomenal” by Eric Clapton, is conditioned to months of perpetually balmy days, interrupted with occasional downpours as fall slides into winter. But a few years ago that rain was slow to come, and the landscape around Los Angeles felt like a tinderbox. When, at last, storms arrived, a friend joked to Mills that maybe it would be the last rain ever for Los Angeles. The storm’s petrichor, Mills remembers, smelled of nostalgia.\u003c/p>\n\u003cp>Mills sat down at his piano and began to ponder what that might mean. The result—a sobering, tender ballad called “Summer All Over”—teeters at the threshold of hope and despair. With his sigh caked on the keys like mud at the bottom of some drought-devastated lake, Mills tempers his quiet horror by “looking for laughter, looking for kindness,” for any human quality that aims to right our colossal wrongs. Mills captures that seesaw of feelings musically with a pervasive flicker of melodic dissonance. Electronics drift in the background, like smog hovering above a troubled valley.\u003c/p>\n\u003cp>“Writing about the season of summer inherently evokes a Beach Boys vibe, maybe because I’m in Los Angeles,” says Mills, who penned the song with Cass McCombs and hopes to release it on his third album. “But the implication of the warmest season happening all over the world at the same time is an ‘endless summer.’ ”\u003c/p>\n\u003cp>He notes the sad irony of a term that, less than 50 years ago, belonged to\u003ca href=\"https://open.spotify.com/album/05J8PFXdYKeYNb8YjqqJYr\"> a relatively carefree\u003c/a> Beach Boys collection. But “Summer All Over,” an enticing title that suggests burnished bodies on a California shoreline, is tragically beautiful, a warm hug from an old ghost. Rock and roll can’t be all good times on the bleeding edge of environmental ruin.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>While touring for the last several years,\u003c/strong> Kentucky songwriter Joan Shelley came to similar epiphanies along the California coast. Not long ago, she was driving north from Los Angeles to Seattle between shows, marveling at the scenery along California’s fabled Highway 1. She remembers the cliffs and the sunlight glittering on the Pacific, a fantasy come to life. That image is captured by “\u003ca href=\"https://joanshelley.bandcamp.com/track/stay-all-night\">Stay All Night\u003c/a>,” a seaside reflection from her quietly uneasy 2019 album,\u003ca href=\"https://joanshelley.bandcamp.com/album/like-the-river-loves-the-sea\"> \u003cem>Like the River Loves the Sea\u003c/em>\u003c/a>. She marvels at the vista but, in the final verse of her reverie, wonders how temporary it may be, hoping that “the waves don’t rise this high.” Actually, it was the opposite: On a recent return visit, that road was closed, nearby cliffs washed into the water by landslides.\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/3u4Pe2YHH-Y'\n title='//www.youtube.com/embed/3u4Pe2YHH-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the album’s arresting centerpiece, “\u003ca href=\"https://www.youtube.com/watch?v=3u4Pe2YHH-Y\">The Fading\u003c/a>,” Shelley retreats to Kentucky, the place Mark Twain (\u003ca href=\"https://oregonscribbler.com/mark-twain-i-want-to-be-in-kentucky-when-the-end-of-the-world-comes-because-they-are-always-20-years-behind/\">allegedly\u003c/a>) joked he’d like to be when the world ended, because it’s always years behind everywhere else. Shelley keys on that idea as she reclines to witness the natural world overrun the order we’ve imposed upon it. “I cheered the flood / when the water hit the wall and won,” she lilts, her cotton-soft voice temporarily stiffening. It’s a love song at, and for, the end of time, an exercise in appreciating what you’ve had the chance to cherish, whether it’s a drink of gin or a gentle lover or a lovely day.\u003c/p>\n\u003cp>Sometimes, Shelley admits, she turns off the news, because the devastation is too much to hear. As a songwriter, then, it was paramount to create a new way of approaching that helplessness, of facing those truths. These songs don’t protest reality—they simply acknowledge it.\u003c/p>\n\u003cp>“With the small rooms I play for, I’m hoping to give people tools for feeling where we may want to be numb. There’s a grief that is hard to admit to,” she says. “But through art, people can express those low-humming anxieties in a way that isn’t so hard to face.”\u003c/p>\n\u003cp>The sweetly wizened voice trailing Shelley’s during “The Fading” belongs to fellow Kentucky native Will Oldham. She, in turn, adds harmonies across \u003cem>I Made a Place\u003c/em>, Oldham’s first record as Bonnie “Prince” Billy in eight years. Moments of intense worry and woe linger in the record’s quiet corners, absorbing the light of these seemingly incandescent songs. During the album’s jaunty first verse, a home burns, part of a personal conflagration that Oldham suggests is spreading. And during the hypnotic “Nothing Is Busted,” a wounded woman and an oblivious man capture the dynamic between our ecosystem and our social order, a relationship hamstrung by the need for new things to sell, buy and discard. “This particular assemblage of molecules and memories someday soon may just run out of gas,” Oldham sings in one song’s closing verse without pausing to take so much as a breath, as if racing against the apocalypse.\u003c/p>\n\u003cp>For most of \u003cem>I Made a Place\u003c/em>, Oldham dances around or with these end times. But during “This Is Far From Over,” an acoustic stunner near the album’s center, he faces them with softness and resolve. Presumably written for his newborn daughter, the song conjures a world where rising tides force her to take to the sea as an adult, a continental refugee who will do her best to persevere. It is a tragic lullaby, a preemptive apology for the mess she will inherit. Despite the title, Oldham is neither blithe nor disingenuous, using the last verse to confront the possibility that new kinds of life will thrive in humanity’s absence. “The whole world’s far from over,” he sings in the final line at the edge of his falsetto, just where his voice might crack into tears.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>“Our kids are being handed a rotten deal, everyone’s children,”\u003c/strong> says The National’s Matt Berninger, father to a 10-year-old daughter, Isla. “The Industrial Revolution gave the Earth a gaping wound not that long ago in the grand scheme, and it’s bleeding out fast. But a tipping point is happening, I think, in understanding how rigged that system is.”\u003c/p>\n\u003cp>The National have rarely been an overtly political band—Berninger has instead spent two decades mapping the darkest and most dangerous corners of his psyche. He’s worried out loud about\u003ca href=\"https://www.youtube.com/watch?v=gPp-3QSXf1g\"> handing down\u003c/a> his worst habits to Isla, about\u003ca href=\"https://www.youtube.com/watch?v=gsZmE95t2Yw\"> taking love too hard\u003c/a> for his own health, and about\u003ca href=\"https://www.youtube.com/watch?v=MxL_xRM0Wug\"> losing himself\u003c/a> in the\u003ca href=\"https://www.youtube.com/watch?v=dCfWAVRR794\"> strange alchemy\u003c/a> of lust and blood and booze. But now the peril of climate change has entered that matrix of considerations, part of “the soup of everyone’s minds and hearts all the time,” as he puts it, alongside sex and drugs and comedy and general dread.\u003c/p>\n\u003cp>In December 2018, Berninger was at a wedding just north of Los Angeles when a song sketch from The National’s Aaron Dessner arrived. Berninger woke up one morning before sunset and, while wandering the streets, unspooled 17 verses to the loop, a sort of living chronicle of his consciousness. There were headline anxieties about the alt-right and immigration, opinions about R.E.M. and The Bible, an interest in the seemingly infinite minimalism of artist\u003ca href=\"http://www.artnet.com/artists/hanne-darboven/evolution-leibniz-a-bSB3naI0qNnejm9Es8cqXw2\"> Hanne Darboven\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/Po61rjjdUPs'\n title='//www.youtube.com/embed/Po61rjjdUPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When he sent the epic to Dessner and filmmaker and producer Mike Mills, they trimmed his diarist sprawl and added an unexpected twist: the dire verses of “\u003ca href=\"https://www.youtube.com/watch?v=FvFrSG37idM\">Noble Experiment\u003c/a>,” a waltz for the end of humanity, released by indie-rock eccentrics Thinking Fellers Union 282 in 1994. During the finished version, “\u003ca href=\"https://open.spotify.com/track/50DAgICmMnWaUVXQiLGlLx\">Not in Kansas\u003c/a>” from this year’s \u003cem>I Am Easy to Find\u003c/em>, a small choir intones those doomed words—”Be a fish or a weed or a sparrow / For the Earth has grown tired and all of your time has expired”—between Berninger’s own verses.\u003c/p>\n\u003cp>The National effectively nest the end of the world inside a laundry list of mundane thoughts; it’s like finding your own death certificate in the day’s otherwise ordinary mail. The world teems with distractions, “Not in Kansas” implies, to keep us from the crisis at the door.\u003c/p>\n\u003cp>“I don’t know how any artist isn’t talking about all of this stuff—sexism, racism, global warming, corporate corruption. I can’t spend time on a song now unless it’s somehow \u003cem>aware\u003c/em> of that stuff,” Berninger says. “Art has the responsibility to try to enlighten, instead of \u003cem>just\u003c/em> entertain. Pop music is still afraid to get into it, but not everyone.”\u003c/p>\n\u003cp>Perhaps the closest that recent pop has come to the subject is “\u003ca href=\"https://www.youtube.com/watch?v=4W9VYY5QpLg\">PARAD(w/m)E\u003c/a>,” a slyly sparkling 2018 single from the North Carolina duo Sylvan Esso. The tune is ebullient, with a chorus that sounds like a mechanized schoolyard chant and verses that shimmer like sunshine on the distant desert horizon. It’s possible to hear and even sing along without ever reflecting on its apocalyptic scenes—the gasless gas stations, the flora-less forests, the reprieve-less heat.\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/4W9VYY5QpLg'\n title='//www.youtube.com/embed/4W9VYY5QpLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Singer Amelia Meath laughs ruefully about fans who show up to shows wearing homemade shirts reading “How’s that for manifesting our destiny,” having misinterpreted the song’s linchpin indictment as a self-help mantra fit for yogis. About halfway in, Nick Sanborn’s keyboards wobble from their glistening perch, slinking briefly into a morass beneath taunting handclaps. In the refrain, Meath’s proclamation of liberation—”We finally got free”—comes only after she reveals the cause: We’ve already ruined everything.\u003c/p>\n\u003cp>While “PARAD(w/m)E” never landed on \u003cem>Billboard\u003c/em>‘s charts, it suggests a clear framework for some future global-warming protest anthem, much like Billie Eilish’s subtly hypnotic “all the good girls go to hell”: lyrics so sharp listeners might not feel the knife, surrounded by music that celebrates whatever it is we’ve salvaged.\u003c/p>\n\u003cp>“No one likes the guy at the party who is just talking about horrible stuff all the time. But that’s me,” says Meath, smiling. She’s worked to weave such concerns into Sylvan Esso’s third LP, likely arriving in 2020, without being didactic. “That song is cloaked, very specifically, to be easy to swallow. That is the dream: Make the funnest music about the heaviest shit.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>In Iceland, mourners \u003c/strong>\u003ca href=\"https://www.usatoday.com/story/news/world/2019/08/19/okjokull-glacier-funeral-iceland-activists-establish-plaque/2049194001/\">\u003cstrong>hold\u003c/strong>\u003c/a>\u003cstrong> funerals for dead glaciers.\u003c/strong> In Washington state, a pioneering three-credit \u003ca href=\"https://www.uwb.edu/news/february-2018/environmental-grief\">course\u003c/a> called “Environmental Grief & Climate Anxiety: Coping in the Age of Consequences” teaches students how to sort through their despair and identify its sources. (The class subsequently became a\u003ca href=\"https://www.foxnews.com/us/global-warming-bringing-you-down-washington-state-offers-course-on-eco-anxiety-climate-grief.amp\"> Fox News punchline\u003c/a>.) And in magazines from\u003ca href=\"https://www.vogue.com/article/eco-anxiety-grief-mental-health-climate-change\"> \u003cem>Vogue\u003c/em>\u003c/a> to\u003ca href=\"https://www.vice.com/amp/en_uk/article/gy48d4/environmental-grief-climate-change-anxiety\"> \u003cem>Vice\u003c/em>\u003c/a>, recent articles about “eco-grief” signal the drift of these fears into the mainstream.\u003c/p>\n\u003cp>Songs about climate change are an inevitable, essential, and overdue component of that movement, a necessary response and tool for people “to process the truth and the existential dread,” as Berninger puts it. And while these songs have slowly started to accumulate during the last several years, it seems that we’re just at the edge of a new tide of them.\u003c/p>\n\u003cp>Next year, alongside new records from Sylvan Esso and The Weather Station, Grimes—a fringe pop star who has delighted in dancing at the edge of accessibility for a decade—will release\u003ca href=\"https://pitchfork.com/news/grimes-announces-new-album-miss-anthropocene/\"> \u003cem>Miss Anthropocene\u003c/em>\u003c/a>. “Each song will be a different embodiment of human extinction,” she has written. So far, its singles have mined the power dynamics of abusive relationships and the burden of despondency, topics that get to the nuance of the overarching issue.\u003c/p>\n\u003cp>In a presidential election year, when the United States is officially able \u003ca href=\"https://www.nytimes.com/2019/11/04/climate/trump-paris-agreement-climate.html\">to exit\u003c/a> the Paris Climate Agreement, Grimes likely won’t be alone, either in commiserating peers or coping listeners. The British singer-songwriter Bill Fay, now in his late 70s, touches on the topic for \u003ca href=\"https://pitchfork.com/news/bill-fay-announces-new-album-countless-branches-shares-new-song-listen/\">\u003cem>Countless Branches\u003c/em>\u003c/a>, due in January, while buzzy LA producer \u003ca href=\"http://shallou.com\">Shallou\u003c/a> cloaks concerns about environmental collapse in breakup imagery on an album due next summer.\u003c/p>\n\u003cp>None of these songwriters work under the illusion that these tunes, however poppy or plainspoken, will literally \u003cem>fix\u003c/em> anything, from reversing President Donald Trump’s confusing climate-change \u003ca href=\"https://time.com/5622374/donald-trump-climate-change-hoax-event/\">denial\u003c/a> to adjusting people’s disposable plastic habits. As working musicians, they have practical issues of their own to navigate, anyway, as the mechanisms of distribution for their work—be it a server churning through electricity or\u003ca href=\"https://www.google.com/amp/s/www.vice.com/amp/en_uk/article/9kz3y5/this-is-how-bad-your-vinyl-obsession-is-for-the-world\"> an LP made with petroleum\u003c/a> or a tour bus burning gas—inextricably entail a carbon footprint for now. Coldplay \u003ca href=\"https://news.yahoo.com/coldplay-postpones-future-global-tours-climate-change-fears-135905727.html\">won’t tour\u003c/a> behind their recent \u003cem>Everyday Life\u003c/em> until they can do so in a carbon-neutral way, a powerful stand from one of the world’s biggest bands but a strategy that’s not yet sustainable for small acts working merely for their living. It’s the essential friction of making and selling art that questions capitalist foundations.\u003c/p>\n\u003cp>But for now, these songs simply exist for the people who need them, their writers included. They’re not expressions of what they know or what they want you to do but only how they feel—and implicit permission slips for you to feel that way, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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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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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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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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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"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/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/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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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"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",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"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/",
"meta": {
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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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"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": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"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"
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