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"content": "\u003cp>What do Janet Jackson, Ira Glass, Kermit the Frog, Nas and Louis Armstrong have in common?\u003c/p>\n\u003cp>These musicians, interviewers, and frogs are behind songs and other recordings to be \u003ca href=\"https://www.loc.gov/item/prn-21-015/national-recording-registry-adds-rhythm-nation-among-25-new-selections/2021-03-24/\" target=\"_blank\" rel=\"noopener noreferrer\">inducted\u003c/a> into the Library of Congress’s National Recording Registry on Wednesday.\u003c/p>\n\u003cp>The Library of Congress announced the 25 titles picked this year are considered “audio treasures worthy of preservation” based on their cultural, historical, or aesthetic importance to the nation’s heritage.\u003c/p>\n\u003cp>Janet Jackson’s album “Rhythm Nation 1814;” Louis Armstrong’s performance of “When the Saints Go Marching In;” Labelle’s song “Lady Marmalade;” Nas’ record “Illmatic,” Kool & the Gang’s “Celebration;” and Kermit the Frog’s “The Rainbow Connection” are now part of the collection of more than 550 other titles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wyLjbMBpGDA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Librarian of Congress Carla Hayden said in a statement Wednesday.\u003c/p>\n\u003cp>The recordings, stretching from 1878 to 2008, were chosen out of 900 nominations from the public, Hayden said.\u003c/p>\n\u003cp>“This American Life” is the first podcast to join the registry. The 2008 episode co-produced with NPR News telling the story of the subprime mortgage crisis will be added to the collection.\u003c/p>\n\u003cp>“When we put this out as a podcast, turning a radio show into a podcast, we did literally nothing to accommodate it,” host Ira Glass said in a statement shared by the Library of Congress. “And my theory is that podcasting is most powerful for the same reason that radio is the most powerful. That is, when you have a medium where you’re not seeing people, there’s just an intimacy to hearing somebody’s voice.”\u003c/p>\n\u003cp>The inclusion of Kermit the Frog’s “The Rainbow Connection” deeply touched the Muppet.\u003c/p>\n\u003cp>“Well, gee, it’s an amazing feeling to officially become part of our nation’s history,” Kermit said in a statement. “It’s a great honor. And I am thrilled—I am thrilled!—to be the first frog on the list!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jS5fTzMP_mg\u003c/p>\n\u003cp>The song was included in the 1979 \u003cem>The Muppet Movie\u003c/em> performed by Jim Henson as Kermit the Frog, and written by Paul Williams and Kenneth Ascher.\u003c/p>\n\u003cp>Williams said the song is about the “immense power of faith.”\u003c/p>\n\u003cp>“We don’t know how it works, but we believe that it does,” Williams said. “Sometimes the questions are more beautiful than the answers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress selects 25 titles each year that are at least 10 years old.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Works+By+Thomas+Edison%2C+Kermit+The+Frog+Inducted+Into+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>For Women’s History Month, the Healdsburg Jazz Festival presents \u003cem>Convergence\u003c/em>, a virtual concert event celebrating iconic musicians Mary Lou Williams and Nina Simone through an imagined depiction of their first meeting.\u003c/p>\n\u003cp>The concert recounts a fictitious meeting of Williams and Simone in a lobby in Paris. When their paths cross, both artists are about to be honored by the French government with the National Order of Merit awards. Featuring original music in addition to renditions of the pair’s most well-known songs interwoven with dialogue and commentary, the event celebrates the cultural and musical contributions of the two artists. \u003c/p>\n\u003cp>Both Williams and Simone began playing the piano at around the age of three as children born to large families in the American south. While Williams was Simone’s senior by over two decades and their careers differed greatly, the two played during overlapping time periods. Both produced expansive bodies of work.[aside postID='arts_13885595']\u003c/p>\n\u003cp>\u003cem>Convergence\u003c/em> features contemporary pianists Victoria Theodore in the role of Nina Simone and Tammy L. Hall in the role of Mary Lou Williams. Hall is also the Healdsburg Jazz 2021 Artist in Residence, and has been playing piano since the age of four. Her career as a pianist, composer, and educator brought her from her hometown of Dallas, Texas to the Bay Area in 1979. \u003c/p>\n\u003cp>Her co-star Theodore began her journey as a pianist and singer in her teens as part of the UC Berkeley Young Musicians Program and the Oakland Youth Chorus, and in 2016 joined Beyoncé’s Formation World Tour as a keyboardist. Theodore also contributes original music to \u003cem>Convergence\u003c/em>. Hall and Theodore are joined onstage by bassist Ruth Davies and drummer Sylvia Cuenca, as well as Oakland-born Grammy-nominated spoken word artist RyanNicole Austin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Kevin Johnson and filmed at Opus Studios in Oakland, the concert also serves as an educational asset. Healdsburg Jazz has created an original resource guide celebrating the contributions of women to the evolution and history of jazz music as well as a compilation of photos, interviews, and other educational materials in tandem with the \u003cem>Convergence\u003c/em> concert event. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Convergence’ airs Wednesday, March 31 at 7pm. Tickets start at $10; a “Dinner Show To Go for Four” package with dinner for four from Spoonbar is available for $200. \u003ca href=\"https://healdsburgjazz.org/convergence-video-concert/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Women’s History Month, the Healdsburg Jazz Festival presents \u003cem>Convergence\u003c/em>, a virtual concert event celebrating iconic musicians Mary Lou Williams and Nina Simone through an imagined depiction of their first meeting.\u003c/p>\n\u003cp>The concert recounts a fictitious meeting of Williams and Simone in a lobby in Paris. When their paths cross, both artists are about to be honored by the French government with the National Order of Merit awards. Featuring original music in addition to renditions of the pair’s most well-known songs interwoven with dialogue and commentary, the event celebrates the cultural and musical contributions of the two artists. \u003c/p>\n\u003cp>Both Williams and Simone began playing the piano at around the age of three as children born to large families in the American south. While Williams was Simone’s senior by over two decades and their careers differed greatly, the two played during overlapping time periods. Both produced expansive bodies of work.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Convergence\u003c/em> features contemporary pianists Victoria Theodore in the role of Nina Simone and Tammy L. Hall in the role of Mary Lou Williams. Hall is also the Healdsburg Jazz 2021 Artist in Residence, and has been playing piano since the age of four. Her career as a pianist, composer, and educator brought her from her hometown of Dallas, Texas to the Bay Area in 1979. \u003c/p>\n\u003cp>Her co-star Theodore began her journey as a pianist and singer in her teens as part of the UC Berkeley Young Musicians Program and the Oakland Youth Chorus, and in 2016 joined Beyoncé’s Formation World Tour as a keyboardist. Theodore also contributes original music to \u003cem>Convergence\u003c/em>. Hall and Theodore are joined onstage by bassist Ruth Davies and drummer Sylvia Cuenca, as well as Oakland-born Grammy-nominated spoken word artist RyanNicole Austin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by Kevin Johnson and filmed at Opus Studios in Oakland, the concert also serves as an educational asset. Healdsburg Jazz has created an original resource guide celebrating the contributions of women to the evolution and history of jazz music as well as a compilation of photos, interviews, and other educational materials in tandem with the \u003cem>Convergence\u003c/em> concert event. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Convergence’ airs Wednesday, March 31 at 7pm. Tickets start at $10; a “Dinner Show To Go for Four” package with dinner for four from Spoonbar is available for $200. \u003ca href=\"https://healdsburgjazz.org/convergence-video-concert/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pass the Aux: New Tracks by Black London, Lowstar Rodeo, Dom Jones and Lil Bean",
"headTitle": "Pass the Aux: New Tracks by Black London, Lowstar Rodeo, Dom Jones and Lil Bean | KQED",
"content": "\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/987479899&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\u003ch2>Black London feat. Viveca Hawkins, “Devil’s Pie” (D’Angelo cover)\u003c/h2>\n\u003cp>D’Angelo’s regal \u003ca href=\"https://pitchfork.com/news/watch-dangelos-verzuz-battle-live-at-the-apollo-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a> appearance last week was a reminder of the quiet power of his discography—not only has he produced some genre-defining neo-soul gems, but his music has always been infused with an insightful political consciousness. While fans await new music from him, Oakland’s \u003ca href=\"https://www.instagram.com/blacklondonmusic/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Black London\u003c/a> music collective is embarking on a project to pay homage to his seminal 2000 album, \u003cem>Voodoo\u003c/em>. Over the next several weeks, they’ll be releasing jazz interpretations of some of D’Angelo’s best-known tracks.\u003c/p>\n\u003cp>First up is their cover of “Devil’s Pie,” featuring singer Viveca Hawkins. While D’Angelo’s original juxtaposes the organic feel of his bluesy vocals with a stripped-down hip-hop beat, Black London brings in lush, new textures with Hawkins’ honeyed voice, Kev Choice and Mike Blankenship’s celestial keys and Howard Wiley’s soulful saxophone. The collective finds pockets for improvisation, breaking free from the structure of a straightforward pop song. It’s an unorthodox approach that reflects D’Angelo’s own creative thinking in his lyrics about how capitalism compromises people’s values: “Who am I to justify / All the evil in our eye / When I myself feel the high / From all that I despise.”\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1254587643/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\u003ch2>Dom Jones, “One More Night”\u003c/h2>\n\u003cp>Poet and R&B vocalist \u003ca href=\"https://iamdomjones.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dom Jones\u003c/a> recently debuted her single “One More Night” off of her new EP, \u003cem>CHASM\u003c/em>. The jazzy song is an uplifting and melodic musical approach to that bad habit of reaching out to a former lover for one more night of romance. “I only think of you when my body is hot, the night is cold, that’s when that old love crosses my mind,” sings Jones in the opening seconds of the uptempo track.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones, an Oakland-raised artist who graduated from the Berkelee School of Music in 2014, says both the five-track EP and newly released poetry book with the same title are dedicated to the decision to leave a lukewarm relationship and pursue her dreams of making music. [aside postid='arts_13893637']\u003c/p>\n\u003cp>“Crazytown,” the EP’s first single, starts with a voicemail from an ex full of mixed messages about not wanting a relationship but extending an invitation to meet up. The song “Rather Be a River” exemplifies the feeling of trying to fit yourself into confining spaces in order to make a relationship work. And the song “HeartSlave” is simply a song of liberation from an unfulfilling love.\u003c/p>\n\u003cp>“One More Night” stands out not only because of Jones’ lyrics and voice. The guitar solo at the end of the track by Jeremy Flegel is simply cold, and it drives the message home as Jones repeats “lay me down one more night.”\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/STz6blVeCj0\u003c/p>\n\u003ch2>Lowstar Rodeo, “Yesterdeja Vu”\u003c/h2>\n\u003cp>As a member of the country duo the Easy Leaves, Kevin Carducci has seen his share of nightclubs and honky-tonks all up and down the West Coast. But for the last year, he’s mostly seen the same four walls during shelter-in-place, over and over, just like the rest of us. That \u003cem>Groundhog Day\u003c/em>-esque existence is the subject of “Yesterdeja Vu,” from Carducci’s side project \u003ca href=\"https://lowstarrodeo.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Lowstar Rodeo\u003c/a>. Over a plaintive acoustic accompaniment, Carducci sings of the mental effects of cabin fever in the months since “time came apart at the seams.” An accompanying video chronicles the progression in our pandemic lives, from novelty to boredom to mania, as \u003cem>Tiger King\u003c/em> and sourdough bread give way to imaginary friends and morning drinking. Between the recognizable scenes and feelings of familiarity, I keep reminding myself that with vaccinations underway, it’ll be over soon.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/vEakFpr5MB8\u003c/p>\n\u003ch2>Lil Bean feat. Lil Yee, “War Ready”\u003c/h2>\n\u003cp>As of late, San Francisco’s \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a> hasn’t missed. This week he dropped a banger of a single, “\u003ca href=\"https://www.youtube.com/watch?v=kYW3Pw3Jr9w\" target=\"_blank\" rel=\"noopener noreferrer\">Vital\u003c/a>.” Last month he put out a high-powered cross-Bay collaboration with Oakland’s Offset Jim, “\u003ca href=\"https://www.youtube.com/watch?v=X1SMzBKaG9c\" target=\"_blank\" rel=\"noopener noreferrer\">Who Wit Me\u003c/a>.” Around that same time he debuted the visual for “\u003ca href=\"https://www.youtube.com/watch?v=uuUnbSLs5jA\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Hardy,\u003c/a>” which features his Northern Californian comrade Sacramento’s ShooterGang Kony. [aside postid='arts_13893303']\u003c/p>\n\u003cp>Given all that Lil Bean’s got cooking, it’s hard to boil it down to one song to spotlight. But his December 2020 EP \u003cem>4TheCulture\u003c/em> starts with a track by the name of “War Ready,” which features San Francisco’s Lil Yee. It’s a song that screams “you can’t hold me back,” coupled with percussion and a bass line that’ll motivate anyone to overcome whatever they’re facing. “They gave my cousin 17, I got a couple years / I’m trynna give my mom a G for every single tear,” Lil Bean raps vulnerably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The visual to the song, which dropped earlier this year, is directed by Mota Media and depicts a day in a trauma-filled life of a man going through relationship issues and festering neighborhood beef. Despite dealing with paranoia and close calls, the young man ultimately makes it through the day and night, because as the title says: he was war ready.\u003cem>—P.H.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/987479899&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\u003ch2>Black London feat. Viveca Hawkins, “Devil’s Pie” (D’Angelo cover)\u003c/h2>\n\u003cp>D’Angelo’s regal \u003ca href=\"https://pitchfork.com/news/watch-dangelos-verzuz-battle-live-at-the-apollo-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a> appearance last week was a reminder of the quiet power of his discography—not only has he produced some genre-defining neo-soul gems, but his music has always been infused with an insightful political consciousness. While fans await new music from him, Oakland’s \u003ca href=\"https://www.instagram.com/blacklondonmusic/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Black London\u003c/a> music collective is embarking on a project to pay homage to his seminal 2000 album, \u003cem>Voodoo\u003c/em>. Over the next several weeks, they’ll be releasing jazz interpretations of some of D’Angelo’s best-known tracks.\u003c/p>\n\u003cp>First up is their cover of “Devil’s Pie,” featuring singer Viveca Hawkins. While D’Angelo’s original juxtaposes the organic feel of his bluesy vocals with a stripped-down hip-hop beat, Black London brings in lush, new textures with Hawkins’ honeyed voice, Kev Choice and Mike Blankenship’s celestial keys and Howard Wiley’s soulful saxophone. The collective finds pockets for improvisation, breaking free from the structure of a straightforward pop song. It’s an unorthodox approach that reflects D’Angelo’s own creative thinking in his lyrics about how capitalism compromises people’s values: “Who am I to justify / All the evil in our eye / When I myself feel the high / From all that I despise.”\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1254587643/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\u003ch2>Dom Jones, “One More Night”\u003c/h2>\n\u003cp>Poet and R&B vocalist \u003ca href=\"https://iamdomjones.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dom Jones\u003c/a> recently debuted her single “One More Night” off of her new EP, \u003cem>CHASM\u003c/em>. The jazzy song is an uplifting and melodic musical approach to that bad habit of reaching out to a former lover for one more night of romance. “I only think of you when my body is hot, the night is cold, that’s when that old love crosses my mind,” sings Jones in the opening seconds of the uptempo track.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jones, an Oakland-raised artist who graduated from the Berkelee School of Music in 2014, says both the five-track EP and newly released poetry book with the same title are dedicated to the decision to leave a lukewarm relationship and pursue her dreams of making music. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Crazytown,” the EP’s first single, starts with a voicemail from an ex full of mixed messages about not wanting a relationship but extending an invitation to meet up. The song “Rather Be a River” exemplifies the feeling of trying to fit yourself into confining spaces in order to make a relationship work. And the song “HeartSlave” is simply a song of liberation from an unfulfilling love.\u003c/p>\n\u003cp>“One More Night” stands out not only because of Jones’ lyrics and voice. The guitar solo at the end of the track by Jeremy Flegel is simply cold, and it drives the message home as Jones repeats “lay me down one more night.”\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/STz6blVeCj0'\n title='//www.youtube.com/embed/STz6blVeCj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lowstar Rodeo, “Yesterdeja Vu”\u003c/h2>\n\u003cp>As a member of the country duo the Easy Leaves, Kevin Carducci has seen his share of nightclubs and honky-tonks all up and down the West Coast. But for the last year, he’s mostly seen the same four walls during shelter-in-place, over and over, just like the rest of us. That \u003cem>Groundhog Day\u003c/em>-esque existence is the subject of “Yesterdeja Vu,” from Carducci’s side project \u003ca href=\"https://lowstarrodeo.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Lowstar Rodeo\u003c/a>. Over a plaintive acoustic accompaniment, Carducci sings of the mental effects of cabin fever in the months since “time came apart at the seams.” An accompanying video chronicles the progression in our pandemic lives, from novelty to boredom to mania, as \u003cem>Tiger King\u003c/em> and sourdough bread give way to imaginary friends and morning drinking. Between the recognizable scenes and feelings of familiarity, I keep reminding myself that with vaccinations underway, it’ll be over soon.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vEakFpr5MB8'\n title='//www.youtube.com/embed/vEakFpr5MB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lil Bean feat. Lil Yee, “War Ready”\u003c/h2>\n\u003cp>As of late, San Francisco’s \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a> hasn’t missed. This week he dropped a banger of a single, “\u003ca href=\"https://www.youtube.com/watch?v=kYW3Pw3Jr9w\" target=\"_blank\" rel=\"noopener noreferrer\">Vital\u003c/a>.” Last month he put out a high-powered cross-Bay collaboration with Oakland’s Offset Jim, “\u003ca href=\"https://www.youtube.com/watch?v=X1SMzBKaG9c\" target=\"_blank\" rel=\"noopener noreferrer\">Who Wit Me\u003c/a>.” Around that same time he debuted the visual for “\u003ca href=\"https://www.youtube.com/watch?v=uuUnbSLs5jA\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Hardy,\u003c/a>” which features his Northern Californian comrade Sacramento’s ShooterGang Kony. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given all that Lil Bean’s got cooking, it’s hard to boil it down to one song to spotlight. But his December 2020 EP \u003cem>4TheCulture\u003c/em> starts with a track by the name of “War Ready,” which features San Francisco’s Lil Yee. It’s a song that screams “you can’t hold me back,” coupled with percussion and a bass line that’ll motivate anyone to overcome whatever they’re facing. “They gave my cousin 17, I got a couple years / I’m trynna give my mom a G for every single tear,” Lil Bean raps vulnerably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The visual to the song, which dropped earlier this year, is directed by Mota Media and depicts a day in a trauma-filled life of a man going through relationship issues and festering neighborhood beef. Despite dealing with paranoia and close calls, the young man ultimately makes it through the day and night, because as the title says: he was war ready.\u003cem>—P.H.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An All-Star Panel Discusses Jazz and Race",
"headTitle": "An All-Star Panel Discusses Jazz and Race | KQED",
"content": "\u003cp>On Sunday, Feb. 28, SFJAZZ wraps up Black History Month with an online panel discussion examining the historical context and current state of jazz music. Featuring four world-renowned musicians, writers, critics and educators, the two-hour long event also includes a Q&A session during which viewers can submit questions to the panelists.[aside postID='arts_13891079']\u003c/p>\n\u003cp>Iconic author, educator and activist Angela Davis, known for her civil rights work and pioneering black feminist theory, is joined by music critic, author, and jazz journalist Nate Chinen, a 13-time winner of the Helen Dance-Robert Palmer Award for Excellence in Writing from the Jazz Journalists Association. Grammy-winning vocalist and multi-instrumentalist Rhiannon Giddens and Grammy-winning composer and drummer Terri Lynne Carrington also join the panel, offering a unique perspective as musicians themselves. Carrington was recently named a 2021 Jazz Master by the National Endowment for the Arts, the highest honor bestowed on jazz musicians in the United States.\u003c/p>\n\u003cp>Moderated by social psychologist, educator, author and SFJAZZ Board trustee Claude Steele, the panel offer their perspectives on the connections between jazz music and race, as well as the contemporary state of the genre. From the genesis of jazz to its impact on social movements today, the star-studded conversation promises to be thought-provoking and insightful. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>SFJAZZ’s panel on jazz and race streams Sunday, Feb. 28, from 11am-1pm Pacific Time. Tickets are free; registration required. \u003ca href=\"https://www.sfjazz.org/sfjazz-digital/jazz-race-panel-discussion\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Iconic author, educator and activist Angela Davis, known for her civil rights work and pioneering black feminist theory, is joined by music critic, author, and jazz journalist Nate Chinen, a 13-time winner of the Helen Dance-Robert Palmer Award for Excellence in Writing from the Jazz Journalists Association. Grammy-winning vocalist and multi-instrumentalist Rhiannon Giddens and Grammy-winning composer and drummer Terri Lynne Carrington also join the panel, offering a unique perspective as musicians themselves. Carrington was recently named a 2021 Jazz Master by the National Endowment for the Arts, the highest honor bestowed on jazz musicians in the United States.\u003c/p>\n\u003cp>Moderated by social psychologist, educator, author and SFJAZZ Board trustee Claude Steele, the panel offer their perspectives on the connections between jazz music and race, as well as the contemporary state of the genre. From the genesis of jazz to its impact on social movements today, the star-studded conversation promises to be thought-provoking and insightful. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>SFJAZZ’s panel on jazz and race streams Sunday, Feb. 28, from 11am-1pm Pacific Time. Tickets are free; registration required. \u003ca href=\"https://www.sfjazz.org/sfjazz-digital/jazz-race-panel-discussion\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Brijean’s New Album Invites Us to Feel Our ‘Feelings’ on the (Living Room) Dance Floor",
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"content": "\u003cp>It’s impossible to listen to \u003ca href=\"https://brijean.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brijean\u003c/a>’s new album \u003cem>Feelings\u003c/em> and not miss big speakers, clinking glasses and neon lights. Nimble conga rhythms guide psychedelic explorations of disco and jazz fusion, alive with the organic feel of the duo’s expert instrumentation. But the upbeat album makes space for contemplative moments, too.\u003c/p>\n\u003cp>“I tend to write from a place of processing,” says singer and percussionist Brijean Murphy in an interview on Zoom. “Processing how to navigate towards feeling enlivened, and a lot of navigating away from turmoil and exhaustion—the shadow side towards the light.”\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=2852719517/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>What typically enlivens Murphy is playing live, running into friends at her favorite bar and being an active member of an IRL artistic scene. Of course, most of that isn’t accessible right now. So she and her partner in music and life, bassist, keyboardist and producer Doug Stuart, have taken the past year to wander and explore.\u003c/p>\n\u003cp>Their collaboration as Brijean has come to the forefront after years of touring with other bands—for Murphy, those included \u003ca href=\"https://poolside.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poolside\u003c/a> and \u003ca href=\"https://toroymoi.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a>, while Stuart performs with \u003ca href=\"https://bellsatlas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bells Atlas\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/album/cherry-plum\" target=\"_blank\" rel=\"noopener noreferrer\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://meernaa.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Meernaa\u003c/a>. They’ve spent more time together recently than ever, moving from the Bay Area to Phoenix to be closer to Stuart’s family, then to New Mexico for a brief stay in a snowy cottage. [aside postid='arts_13891939']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next on their itinerary is Murphy’s dad’s place on Vancouver Island, Canada. Then, who knows. But through all this traveling around, they’ve stayed rooted in their collaboration as well as individual creative projects. Stuart has taken on freelance gigs composing music for podcasts, and released his solo debut as Dougie Stu, the spiritual jazz album \u003ca href=\"https://www.kqed.org/arts/13889392/dougie-stus-spiritual-jazz-debut-is-an-album-for-going-inward\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Familiar Future\u003c/em>\u003c/a>, in late 2020. (It was featured on KQED Arts & Culture’s list of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">top Bay Area albums\u003c/a> of the year.)\u003c/p>\n\u003cp>As for Murphy, she’s delved deeper into her visual art practice. As a self-taught artist, she’s honed her illustration skills significantly over the last several years while drawing weekly flyers for her jazz night at \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>. The aesthetics of the eclectic Oakland venue are all over the new animated music video for the Latin jazz-inflected, lounge-y dance single “Hey Boy,” illustrated and directed by Murphy in collaboration with animator Rose Biehl.\u003c/p>\n\u003cp>https://youtu.be/MNMhLKRLvJk\u003c/p>\n\u003cp>Quirky, stylized characters wearing bold prints, bell bottoms, beanies and beards boogie in a dream-like discotheque. The track evokes the life-affirming sensation of connecting with community on the dance floor.\u003c/p>\n\u003cp>Fueling the revelry are Stuart’s funky bass lines and buoyant synths over Murphy’s conga rhythms—drum patterns she sees as family heirlooms. She learned many of them from her father, Patrick Murphy, who performed with Latin jazz giant Tito Puente and introduced his daughter to a large extended family of percussionist “uncles.” “My dad taught me rhythms he learned from friends and family, and passed those down to me,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13893466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool.jpeg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool-768x960.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean Murphy and Doug Stuart (left to right). \u003ccite>(Jack Bool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This collaborative spirit guides her process today. “For me, people and community and shared space grounds me and fuels me in a huge way,” Murphy says.\u003c/p>\n\u003cp>To tap into that feeling of joy in their slower, more isolated pandemic lifestyle, the couple spends a lot of time hiking, doing yoga, creating and playing with their new dog, a small, white, fluffy guy named Shuggie. “We’ve been finding a lot of self-care practices that maybe don’t enliven in the same way, but maintain a good base level to not sink too far into it,” reflects Stuart.\u003c/p>\n\u003cp>https://youtu.be/EPVPuIsjqf8\u003c/p>\n\u003cp>On \u003cem>Feelings\u003c/em>, the track that most strongly communicates that at-home vibe is “Ocean,” a placid, gentle tune about the tranquil feeling of falling deeper in love with someone as they reveal the layers of their personality. As Murphy sings “I want to be inside your ocean,” candid shots in the music video show the lovers as they see each other: Stuart cozily reading on the couch; Murphy hiking in the desert.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a warmth to their gaze during these intimate moments that can be felt on the rest of the album: it’s not just about the big crescendos, but finding joy in quieter moments too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to listen to \u003ca href=\"https://brijean.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brijean\u003c/a>’s new album \u003cem>Feelings\u003c/em> and not miss big speakers, clinking glasses and neon lights. Nimble conga rhythms guide psychedelic explorations of disco and jazz fusion, alive with the organic feel of the duo’s expert instrumentation. But the upbeat album makes space for contemplative moments, too.\u003c/p>\n\u003cp>“I tend to write from a place of processing,” says singer and percussionist Brijean Murphy in an interview on Zoom. “Processing how to navigate towards feeling enlivened, and a lot of navigating away from turmoil and exhaustion—the shadow side towards the light.”\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=2852719517/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>What typically enlivens Murphy is playing live, running into friends at her favorite bar and being an active member of an IRL artistic scene. Of course, most of that isn’t accessible right now. So she and her partner in music and life, bassist, keyboardist and producer Doug Stuart, have taken the past year to wander and explore.\u003c/p>\n\u003cp>Their collaboration as Brijean has come to the forefront after years of touring with other bands—for Murphy, those included \u003ca href=\"https://poolside.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poolside\u003c/a> and \u003ca href=\"https://toroymoi.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a>, while Stuart performs with \u003ca href=\"https://bellsatlas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bells Atlas\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/album/cherry-plum\" target=\"_blank\" rel=\"noopener noreferrer\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://meernaa.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Meernaa\u003c/a>. They’ve spent more time together recently than ever, moving from the Bay Area to Phoenix to be closer to Stuart’s family, then to New Mexico for a brief stay in a snowy cottage. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next on their itinerary is Murphy’s dad’s place on Vancouver Island, Canada. Then, who knows. But through all this traveling around, they’ve stayed rooted in their collaboration as well as individual creative projects. Stuart has taken on freelance gigs composing music for podcasts, and released his solo debut as Dougie Stu, the spiritual jazz album \u003ca href=\"https://www.kqed.org/arts/13889392/dougie-stus-spiritual-jazz-debut-is-an-album-for-going-inward\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Familiar Future\u003c/em>\u003c/a>, in late 2020. (It was featured on KQED Arts & Culture’s list of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">top Bay Area albums\u003c/a> of the year.)\u003c/p>\n\u003cp>As for Murphy, she’s delved deeper into her visual art practice. As a self-taught artist, she’s honed her illustration skills significantly over the last several years while drawing weekly flyers for her jazz night at \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>. The aesthetics of the eclectic Oakland venue are all over the new animated music video for the Latin jazz-inflected, lounge-y dance single “Hey Boy,” illustrated and directed by Murphy in collaboration with animator Rose Biehl.\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/MNMhLKRLvJk'\n title='//www.youtube.com/embed/MNMhLKRLvJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Quirky, stylized characters wearing bold prints, bell bottoms, beanies and beards boogie in a dream-like discotheque. The track evokes the life-affirming sensation of connecting with community on the dance floor.\u003c/p>\n\u003cp>Fueling the revelry are Stuart’s funky bass lines and buoyant synths over Murphy’s conga rhythms—drum patterns she sees as family heirlooms. She learned many of them from her father, Patrick Murphy, who performed with Latin jazz giant Tito Puente and introduced his daughter to a large extended family of percussionist “uncles.” “My dad taught me rhythms he learned from friends and family, and passed those down to me,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13893466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool.jpeg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool-160x200.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Brijean-Pink-Jack-Bool-768x960.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean Murphy and Doug Stuart (left to right). \u003ccite>(Jack Bool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This collaborative spirit guides her process today. “For me, people and community and shared space grounds me and fuels me in a huge way,” Murphy says.\u003c/p>\n\u003cp>To tap into that feeling of joy in their slower, more isolated pandemic lifestyle, the couple spends a lot of time hiking, doing yoga, creating and playing with their new dog, a small, white, fluffy guy named Shuggie. “We’ve been finding a lot of self-care practices that maybe don’t enliven in the same way, but maintain a good base level to not sink too far into it,” reflects Stuart.\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/EPVPuIsjqf8'\n title='//www.youtube.com/embed/EPVPuIsjqf8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On \u003cem>Feelings\u003c/em>, the track that most strongly communicates that at-home vibe is “Ocean,” a placid, gentle tune about the tranquil feeling of falling deeper in love with someone as they reveal the layers of their personality. As Murphy sings “I want to be inside your ocean,” candid shots in the music video show the lovers as they see each other: Stuart cozily reading on the couch; Murphy hiking in the desert.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a warmth to their gaze during these intimate moments that can be felt on the rest of the album: it’s not just about the big crescendos, but finding joy in quieter moments too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In any successful musician’s career, there comes a time when they think to themselves, \u003cem>OK, maybe I could really do this\u003c/em>. Their day job starts to feel tedious after late nights of playing shows and recording in the studio, and slowly all that work begins to pay off with a growing fanbase and new opportunities.\u003c/p>\n\u003cp>After months—or years—of keeping up this juggling act, they finally take the plunge and decide to go into music full time. Then, of course, come more sacrifices. Streaming and album sales don’t earn much unless you’re über-famous. So for most artists, doing what they love professionally requires spending large parts of the year on tour.\u003c/p>\n\u003cp>But—cue record scratch—the pandemic upended that entire economy, and musicians have been essentially out of work for almost a year. While many are understandably struggling—creatively, financially and in terms of mental health—as the state of the world continues to resemble a dumpster fire, others have relished the opportunity to pause, recalibrate and find new directions. [aside postid='arts_13890093']\u003c/p>\n\u003cp>To see how different artists are handling all these changes, I caught up with three Bay Area musicians who’ve taken different paths: Grammy-winning blues-rock singer Fantastic Negrito, rapper-producer Rexx Life Raj and Salami Rose Joe Louis bandleader Lindsay Olsen.\u003c/p>\n\u003ch2>Up for a Grammy, Fantastic Negrito Focuses on Urban Farming\u003c/h2>\n\u003cp>\u003ca href=\"https://fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fantastic Negrito\u003c/a>’s music career hasn’t followed what anyone would call a linear path. As a teenager in the ’90s, he ran away from home and landed a major \u003ca href=\"https://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener noreferrer\">label deal at Interscope\u003c/a>, only to be dropped by them after he survived a debilitating car crash. He thought his music career was over, but he rediscovered his passion and started busking on the streets of Oakland in his 40s. Winning the \u003ca href=\"https://www.youtube.com/watch?v=ymYjwsFz8iM&ab_channel=NPRMusic\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk contest\u003c/a> in 2015 brought him once again into the national spotlight. Fast forward to 2021, and he’s up for his third Grammy for his latest album, \u003cem>Have You Lost Your Mind Yet?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My life has been rocked with challenges and obstacles all along the way since birth. It’s normal to have things to not go as planned,” says Fantastic Negrito when I ask about the past year.\u003c/p>\n\u003cp>That’s not to say handling them has been easy. He says he previously made about 80% of his income from live shows, and was getting ready to head on a tour across Europe, Asia and South America when shelter-in-place orders came down in the Bay Area and the concert industry effectively shut down.\u003c/p>\n\u003cp>“I woke up one morning like, ‘Hey, you don’t have any money coming in,’” he says. “I have mouths to feed—I have children, I have animals, I have it all.”\u003c/p>\n\u003cp>But instead of panicking, he steeled himself: “We have to rise to the challenge. I believe that, and I come from a long line of people who have done that.”\u003c/p>\n\u003cp>With touring canceled, Fantastic Negrito got online and revamped his merch store. He also began to craft a digital rollout strategy for \u003cem>Have You Lost Your Mind Yet?\u003c/em>, which came out in July. A crowdsourced video for the lead single, “Chocolate Samurai,” captured the stir-crazy mood of the first pandemic summer with footage of fellow musicians, friends and fans singing along inside their houses, looking slightly frazzled as they chase their children, work out to pass the time and tend to never-ending piles of dishes.\u003c/p>\n\u003cp>https://youtu.be/bolqbyi1VMQ\u003c/p>\n\u003cp>“I really got involved digitally with the album online because I knew people needed music and they’d be at home—so they needed even more music,” he says.\u003c/p>\n\u003cp>The approach worked. \u003cem>Have You Lost Your Mind Yet?\u003c/em> hit No. 1 on Billboard’s blues chart. And support came in other ways: a grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a> and a gig at their virtual festival.\u003c/p>\n\u003cp>“They were one of the people who compensated their artists fairly,” Fantastic Negrito says, adding that he’s had to turn down numerous asks to perform for free.\u003c/p>\n\u003cp>Last month, Fantastic Negrito treated his U.S. fans to a virtual concert, and livestreams for his listeners in Europe and South America are also in the works. He’s also received commissions from the Oakland Roots soccer team and the local beer company Ale Industries, and flew to Atlanta to work on an undisclosed television project.\u003c/p>\n\u003cp>The time away from touring has also given him space to work on two ideas he’s had brewing for a while: his newly announced, genre-less independent record label, \u003ca href=\"https://www.storefrontrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Storefront Records\u003c/a>, which he started to develop artists who “do not want to be famous,” and Revolution Plantation, his urban farm. He hopes to expand \u003ca href=\"https://www.instagram.com/revolutionplantation/\" target=\"_blank\" rel=\"noopener noreferrer\">Revolution Plantation\u003c/a> into an educational nonprofit that teaches horticultural skills to Oakland kids, particularly kids of color. Teaching them to grow their own food and empower themselves, he says, is his way of affirming that Black lives matter.\u003c/p>\n\u003cp>“After the marches happen, then what? After the slogans and the signs, then what? What is tangible? That’s the good thing about the pandemic, and everything that happened this year,” he says. “It made me think, what can I do?”\u003c/p>\n\u003ch2>Rexx Life Raj Forays into Cannabis and Real Estate\u003c/h2>\n\u003cp>Prior to the pandemic, Berkeley-raised artist \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was unlocking the next level of his career as a rapper, songwriter and producer. He had a headlining tour under his belt, performed at taste-making festival Rolling Loud and collaborated with big names like Kehlani, Bas and Russ. 2020 was supposed to be even better: he was booked to play Outside Lands—a longtime goal of his—and was looking forward to his biggest year of touring yet. [aside postid='arts_13869513']\u003c/p>\n\u003cp>Since the pandemic had other plans, Raj had to make some quick switches. “For me, it wasn’t like I pivoted. Everything I’m doing is stuff I’ve been doing—and now I have time and energy to focus on it,” he says.\u003c/p>\n\u003cp>That meant getting his footing in two industries with high potential for growth: cannabis and real estate. Along with the release of his EP \u003cem>California Poppy 2\u003c/em> in late 2020, he developed a soon-to-be-released \u003ca href=\"https://www.californiapoppy.co/\" target=\"_blank\" rel=\"noopener noreferrer\">marijuana strain\u003c/a> of the same name with the help of friends from Humboldt company Permanent Holiday, who walked him through the proper permitting process and inner workings of the biz.\u003c/p>\n\u003cp>Though business-minded, Raj places a lot of importance on advocacy. He hopes to expand his cannabis business to include an incubator for other Black and brown entrepreneurs—especially those who, like him, come from communities impacted by mass incarceration and the War on Drugs. “I have a few homies who’ve been in jail for weed, and it’s crazy to me that there’s a whole sector of people who profit off the same crops,” he says. “My biggest thing with this weed strain is I’m going to build a platform and an infrastructure for POC to learn about the cannabis business.”\u003c/p>\n\u003cp>As for his real estate ventures, Raj is just getting started. He and a handful of friends from his alma mater, Boise State University, recently formed an LLC and are getting ready to pool their money to purchase their first investment property.\u003c/p>\n\u003cp>“My biggest thing has always been is, rap is my passion and I’m getting paid from it, but it’s also a vehicle to open other doors,” says Raj. “I learned that from playing football [in college].”\u003c/p>\n\u003cp>Even while keeping busy with these projects, Raj has remained focused on his music career. He’s part of the inaugural \u003ca href=\"https://www.youtube.com/watch?v=UcVcqURHZRA&ab_channel=YouTube\" target=\"_blank\" rel=\"noopener noreferrer\">#YouTubeBlackVoices\u003c/a> cohort, a new grant program that funds projects by up-and-coming Black creators. Since it was announced, he released a music video for “Bounty,” an incisive and witty commentary on trying to succeed in an unfair system.\u003c/p>\n\u003cp>https://youtu.be/L06_5kwLQFs\u003c/p>\n\u003cp>Speaking of which, giving back to the community has been a central focus of Raj over the past year. He got his hands dirty—literally—planting a community garden with the mutual aid collective \u003ca href=\"https://www.instagram.com/p/CGiykO8hqqL/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a>, and collaborated with sneaker company Finish Line to donate $20,000 to the arts organization \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a> and youth nonprofit \u003ca href=\"https://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fam 1st Family Foundation\u003c/a>. He also took on speaking engagements with UC Berkeley and the Oakland Unified School District.\u003c/p>\n\u003cp>“I think that’s always been something that was big in my heart, to find a way to give back,” says Raj, whose father was involved with the Black Panthers. “I always look at myself like I’m blessed. … In the pandemic things are going so well for me, but if you look out into the world it’s just crazy.”\u003c/p>\n\u003ch2>Salami Rose Joe Louis Learns to Score Films\u003c/h2>\n\u003cp>By day, Lindsay Olsen was a technician in a chemical oceanography lab. At night, she toiled away on her sci-fi-inspired brand of experimental, jazzy electronic pop. After years of playing in other people’s bands and performing her solo project at house shows, she went on to tour with \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a> and signed a three-album deal with Brainfeeder, Flying Lotus’ label, in 2019.\u003c/p>\n\u003cp>Newfound success was equal parts thrilling and challenging for Olsen, who performs as \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and with her improvisational outfit, the Science Band. “I’m such an introverted person and I felt like playing so many shows all the time the previous year—I really was exercising muscles that come really hard to me,” she says. [aside postid='arts_13864118']\u003c/p>\n\u003cp>She had plans to go on a West Coast tour and was booked for an ongoing weekly residency at \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>. But when the pandemic hit, she first found herself grateful for what she thought would be a temporary break from life on the road. But quickly, the reality set in that California’s shelter-in-place orders wouldn’t just last for a few weeks, as some of us had optimistically predicted.\u003c/p>\n\u003cp>Soon came the stress of soon-to-be-due bills. “I think as bandleader I felt a lot of responsibility, too, for being a portion of income for all these musicians I care about,” she says.\u003c/p>\n\u003cp>As the weeks went on and her savings account shrank, she began applying to freelance gigs to score commercials and short films. It felt like a natural fit: much of Olsen’s work as Salami Rose Joe Louis was quite cinematic already. In her albums, she’s told stories of humans surviving environmental collapses, traveling through interstellar portals and meeting otherworldly beings.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003cp>After teaming up with a sound company in Los Angeles, Olsen composed soundtracks for several soon-to-be-released commercials. One of her scores appeared in Intersection for the Arts’ \u003cem>Loud Cinema\u003c/em> screening at Fort Mason Flix, which invited contemporary musicians to imagine new sounds for experimental short films from the 1920s, ’30s and ’40s.\u003c/p>\n\u003cp>Although she enjoys playing live, she says, “I think my happiest self is just at home making music.”\u003c/p>\n\u003cp>With film scoring, she discovered a new purpose. “This is what I want to do for a living,” she says, adding that her ultimate goal is to compose for feature-length films.\u003c/p>\n\u003cp>For her, film scoring presented an exciting new set of challenges. “How do you create the emotions? How do you tell the story?” she asks. “You just have so much power and responsibility making the music, because you’re really creating the mood.”\u003c/p>\n\u003cp>Olsen has also been using the extra downtime away from touring to learn new skills. She took an online mixing class with the Berkelee College of Music, and is currently taking piano lessons and learning clarinet. She misses her band, but she and her frequent collaborators \u003ca href=\"https://cheflee.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Eli Maliwan have stayed in close contact, sharing their solo work and offering each other feedback.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though Olsen doesn’t want the next stage of her career to consist entirely of touring, she did have one experience during the pandemic that reminded her of the magic of playing live. At the Good Faith Gallery in San Diego, she performed inside an art installation as one COVID pod at a time watched her from outside the building, through a rolled-up garage door. “It was so nice for play for people, and then they had a nice, private experience. I was like, ‘Oh man, there’s still ways to connect and play,’” she says. “You just have to do it for less people and be far away.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any successful musician’s career, there comes a time when they think to themselves, \u003cem>OK, maybe I could really do this\u003c/em>. Their day job starts to feel tedious after late nights of playing shows and recording in the studio, and slowly all that work begins to pay off with a growing fanbase and new opportunities.\u003c/p>\n\u003cp>After months—or years—of keeping up this juggling act, they finally take the plunge and decide to go into music full time. Then, of course, come more sacrifices. Streaming and album sales don’t earn much unless you’re über-famous. So for most artists, doing what they love professionally requires spending large parts of the year on tour.\u003c/p>\n\u003cp>But—cue record scratch—the pandemic upended that entire economy, and musicians have been essentially out of work for almost a year. While many are understandably struggling—creatively, financially and in terms of mental health—as the state of the world continues to resemble a dumpster fire, others have relished the opportunity to pause, recalibrate and find new directions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To see how different artists are handling all these changes, I caught up with three Bay Area musicians who’ve taken different paths: Grammy-winning blues-rock singer Fantastic Negrito, rapper-producer Rexx Life Raj and Salami Rose Joe Louis bandleader Lindsay Olsen.\u003c/p>\n\u003ch2>Up for a Grammy, Fantastic Negrito Focuses on Urban Farming\u003c/h2>\n\u003cp>\u003ca href=\"https://fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fantastic Negrito\u003c/a>’s music career hasn’t followed what anyone would call a linear path. As a teenager in the ’90s, he ran away from home and landed a major \u003ca href=\"https://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener noreferrer\">label deal at Interscope\u003c/a>, only to be dropped by them after he survived a debilitating car crash. He thought his music career was over, but he rediscovered his passion and started busking on the streets of Oakland in his 40s. Winning the \u003ca href=\"https://www.youtube.com/watch?v=ymYjwsFz8iM&ab_channel=NPRMusic\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk contest\u003c/a> in 2015 brought him once again into the national spotlight. Fast forward to 2021, and he’s up for his third Grammy for his latest album, \u003cem>Have You Lost Your Mind Yet?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My life has been rocked with challenges and obstacles all along the way since birth. It’s normal to have things to not go as planned,” says Fantastic Negrito when I ask about the past year.\u003c/p>\n\u003cp>That’s not to say handling them has been easy. He says he previously made about 80% of his income from live shows, and was getting ready to head on a tour across Europe, Asia and South America when shelter-in-place orders came down in the Bay Area and the concert industry effectively shut down.\u003c/p>\n\u003cp>“I woke up one morning like, ‘Hey, you don’t have any money coming in,’” he says. “I have mouths to feed—I have children, I have animals, I have it all.”\u003c/p>\n\u003cp>But instead of panicking, he steeled himself: “We have to rise to the challenge. I believe that, and I come from a long line of people who have done that.”\u003c/p>\n\u003cp>With touring canceled, Fantastic Negrito got online and revamped his merch store. He also began to craft a digital rollout strategy for \u003cem>Have You Lost Your Mind Yet?\u003c/em>, which came out in July. A crowdsourced video for the lead single, “Chocolate Samurai,” captured the stir-crazy mood of the first pandemic summer with footage of fellow musicians, friends and fans singing along inside their houses, looking slightly frazzled as they chase their children, work out to pass the time and tend to never-ending piles of dishes.\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/bolqbyi1VMQ'\n title='//www.youtube.com/embed/bolqbyi1VMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I really got involved digitally with the album online because I knew people needed music and they’d be at home—so they needed even more music,” he says.\u003c/p>\n\u003cp>The approach worked. \u003cem>Have You Lost Your Mind Yet?\u003c/em> hit No. 1 on Billboard’s blues chart. And support came in other ways: a grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a> and a gig at their virtual festival.\u003c/p>\n\u003cp>“They were one of the people who compensated their artists fairly,” Fantastic Negrito says, adding that he’s had to turn down numerous asks to perform for free.\u003c/p>\n\u003cp>Last month, Fantastic Negrito treated his U.S. fans to a virtual concert, and livestreams for his listeners in Europe and South America are also in the works. He’s also received commissions from the Oakland Roots soccer team and the local beer company Ale Industries, and flew to Atlanta to work on an undisclosed television project.\u003c/p>\n\u003cp>The time away from touring has also given him space to work on two ideas he’s had brewing for a while: his newly announced, genre-less independent record label, \u003ca href=\"https://www.storefrontrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Storefront Records\u003c/a>, which he started to develop artists who “do not want to be famous,” and Revolution Plantation, his urban farm. He hopes to expand \u003ca href=\"https://www.instagram.com/revolutionplantation/\" target=\"_blank\" rel=\"noopener noreferrer\">Revolution Plantation\u003c/a> into an educational nonprofit that teaches horticultural skills to Oakland kids, particularly kids of color. Teaching them to grow their own food and empower themselves, he says, is his way of affirming that Black lives matter.\u003c/p>\n\u003cp>“After the marches happen, then what? After the slogans and the signs, then what? What is tangible? That’s the good thing about the pandemic, and everything that happened this year,” he says. “It made me think, what can I do?”\u003c/p>\n\u003ch2>Rexx Life Raj Forays into Cannabis and Real Estate\u003c/h2>\n\u003cp>Prior to the pandemic, Berkeley-raised artist \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was unlocking the next level of his career as a rapper, songwriter and producer. He had a headlining tour under his belt, performed at taste-making festival Rolling Loud and collaborated with big names like Kehlani, Bas and Russ. 2020 was supposed to be even better: he was booked to play Outside Lands—a longtime goal of his—and was looking forward to his biggest year of touring yet. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the pandemic had other plans, Raj had to make some quick switches. “For me, it wasn’t like I pivoted. Everything I’m doing is stuff I’ve been doing—and now I have time and energy to focus on it,” he says.\u003c/p>\n\u003cp>That meant getting his footing in two industries with high potential for growth: cannabis and real estate. Along with the release of his EP \u003cem>California Poppy 2\u003c/em> in late 2020, he developed a soon-to-be-released \u003ca href=\"https://www.californiapoppy.co/\" target=\"_blank\" rel=\"noopener noreferrer\">marijuana strain\u003c/a> of the same name with the help of friends from Humboldt company Permanent Holiday, who walked him through the proper permitting process and inner workings of the biz.\u003c/p>\n\u003cp>Though business-minded, Raj places a lot of importance on advocacy. He hopes to expand his cannabis business to include an incubator for other Black and brown entrepreneurs—especially those who, like him, come from communities impacted by mass incarceration and the War on Drugs. “I have a few homies who’ve been in jail for weed, and it’s crazy to me that there’s a whole sector of people who profit off the same crops,” he says. “My biggest thing with this weed strain is I’m going to build a platform and an infrastructure for POC to learn about the cannabis business.”\u003c/p>\n\u003cp>As for his real estate ventures, Raj is just getting started. He and a handful of friends from his alma mater, Boise State University, recently formed an LLC and are getting ready to pool their money to purchase their first investment property.\u003c/p>\n\u003cp>“My biggest thing has always been is, rap is my passion and I’m getting paid from it, but it’s also a vehicle to open other doors,” says Raj. “I learned that from playing football [in college].”\u003c/p>\n\u003cp>Even while keeping busy with these projects, Raj has remained focused on his music career. He’s part of the inaugural \u003ca href=\"https://www.youtube.com/watch?v=UcVcqURHZRA&ab_channel=YouTube\" target=\"_blank\" rel=\"noopener noreferrer\">#YouTubeBlackVoices\u003c/a> cohort, a new grant program that funds projects by up-and-coming Black creators. Since it was announced, he released a music video for “Bounty,” an incisive and witty commentary on trying to succeed in an unfair system.\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/L06_5kwLQFs'\n title='//www.youtube.com/embed/L06_5kwLQFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of which, giving back to the community has been a central focus of Raj over the past year. He got his hands dirty—literally—planting a community garden with the mutual aid collective \u003ca href=\"https://www.instagram.com/p/CGiykO8hqqL/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a>, and collaborated with sneaker company Finish Line to donate $20,000 to the arts organization \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a> and youth nonprofit \u003ca href=\"https://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fam 1st Family Foundation\u003c/a>. He also took on speaking engagements with UC Berkeley and the Oakland Unified School District.\u003c/p>\n\u003cp>“I think that’s always been something that was big in my heart, to find a way to give back,” says Raj, whose father was involved with the Black Panthers. “I always look at myself like I’m blessed. … In the pandemic things are going so well for me, but if you look out into the world it’s just crazy.”\u003c/p>\n\u003ch2>Salami Rose Joe Louis Learns to Score Films\u003c/h2>\n\u003cp>By day, Lindsay Olsen was a technician in a chemical oceanography lab. At night, she toiled away on her sci-fi-inspired brand of experimental, jazzy electronic pop. After years of playing in other people’s bands and performing her solo project at house shows, she went on to tour with \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a> and signed a three-album deal with Brainfeeder, Flying Lotus’ label, in 2019.\u003c/p>\n\u003cp>Newfound success was equal parts thrilling and challenging for Olsen, who performs as \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and with her improvisational outfit, the Science Band. “I’m such an introverted person and I felt like playing so many shows all the time the previous year—I really was exercising muscles that come really hard to me,” she says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She had plans to go on a West Coast tour and was booked for an ongoing weekly residency at \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>. But when the pandemic hit, she first found herself grateful for what she thought would be a temporary break from life on the road. But quickly, the reality set in that California’s shelter-in-place orders wouldn’t just last for a few weeks, as some of us had optimistically predicted.\u003c/p>\n\u003cp>Soon came the stress of soon-to-be-due bills. “I think as bandleader I felt a lot of responsibility, too, for being a portion of income for all these musicians I care about,” she says.\u003c/p>\n\u003cp>As the weeks went on and her savings account shrank, she began applying to freelance gigs to score commercials and short films. It felt like a natural fit: much of Olsen’s work as Salami Rose Joe Louis was quite cinematic already. In her albums, she’s told stories of humans surviving environmental collapses, traveling through interstellar portals and meeting otherworldly beings.\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>\u003cp>After teaming up with a sound company in Los Angeles, Olsen composed soundtracks for several soon-to-be-released commercials. One of her scores appeared in Intersection for the Arts’ \u003cem>Loud Cinema\u003c/em> screening at Fort Mason Flix, which invited contemporary musicians to imagine new sounds for experimental short films from the 1920s, ’30s and ’40s.\u003c/p>\n\u003cp>Although she enjoys playing live, she says, “I think my happiest self is just at home making music.”\u003c/p>\n\u003cp>With film scoring, she discovered a new purpose. “This is what I want to do for a living,” she says, adding that her ultimate goal is to compose for feature-length films.\u003c/p>\n\u003cp>For her, film scoring presented an exciting new set of challenges. “How do you create the emotions? How do you tell the story?” she asks. “You just have so much power and responsibility making the music, because you’re really creating the mood.”\u003c/p>\n\u003cp>Olsen has also been using the extra downtime away from touring to learn new skills. She took an online mixing class with the Berkelee College of Music, and is currently taking piano lessons and learning clarinet. She misses her band, but she and her frequent collaborators \u003ca href=\"https://cheflee.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Eli Maliwan have stayed in close contact, sharing their solo work and offering each other feedback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Olsen doesn’t want the next stage of her career to consist entirely of touring, she did have one experience during the pandemic that reminded her of the magic of playing live. At the Good Faith Gallery in San Diego, she performed inside an art installation as one COVID pod at a time watched her from outside the building, through a rolled-up garage door. “It was so nice for play for people, and then they had a nice, private experience. I was like, ‘Oh man, there’s still ways to connect and play,’” she says. “You just have to do it for less people and be far away.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And to my amazing musician friends who have been like family to me as long as I’ve known you: It has been a blessing and an honor learning from and playing with all of you. My mission has always been to bring the joy of creating anywhere I could, and to have done so with all the artists that I admire so dearly — this has been the richness of my life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/15IHNYq6stw\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=Chick+Corea%2C+Jazz+Fusion+Pioneer%2C+Has+Died+Of+Cancer+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And to my amazing musician friends who have been like family to me as long as I’ve known you: It has been a blessing and an honor learning from and playing with all of you. My mission has always been to bring the joy of creating anywhere I could, and to have done so with all the artists that I admire so dearly — this has been the richness of my life.”\u003c/p>\n\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/15IHNYq6stw'\n title='//www.youtube.com/embed/15IHNYq6stw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Chick+Corea%2C+Jazz+Fusion+Pioneer%2C+Has+Died+Of+Cancer+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Cauleen Smith on Black Feminist Utopia in California",
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"content": "\u003cp>\u003ca href=\"https://www.cauleensmith.com/\">Cauleen Smith\u003c/a>’s work is both Afrofuturistic and deeply historical, deriving inspiration from previous generations of Black women whose activism and art offer a gateway to spiritual enlightenment and liberation. Both poetic and political, Smith’s films weave in and out of real-life utopian universes, and show how these radically generous communities can offer a model for the rest of society. \u003c/p>\n\u003cp>One of Smith’s films, the 2018 short \u003cem>Sojourner\u003c/em>, explores communal settings across California, including Alice Coltrane’s ashram in the Santa Monica hills and Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree.\u003c/p>\n\u003cp>\u003cem>Sojourner\u003c/em> is currently on display in immersive installations—complete with a shag rug, disco ball, and custom wallpaper—at the \u003ca href=\"https://www.sfmoma.org/watch/cauleen-smith-imagines-a-black-feminist-utopia-2/\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"https://www.lacma.org/art/exhibition/cauleen-smith-give-it-or-leave-it\">Los Angeles County Museum of Art\u003c/a>. (Due to the spread of COVID-19, both museums have been closed for much of the past year.)\u003c/p>\n\u003cp>Smith joined \u003ca href=\"https://www.kqed.org/californiareportmagazine\">California Report Magazine\u003c/a> host Sasha Khokha from her home in Boyle Heights to discuss her inspiration for \u003cem>Sojourner\u003c/em> and how her work responds to this current moment in history. Her answers have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13892110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sojourner’ examines the concept of utopia by featuring Black activists from Chicago to Los Angeles. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Concept of Utopia\u003c/h3>\n\u003cp>I’ve grown accustomed to having people dismiss utopia as impossible, fantastical, escapist, or a naive notion. But in reality, people make utopias happen all the time. To me, this film [Sojourner] was about looking very pointedly at individuals, groups of people, and their actions that produced utopian ethics and manifestations in the world.\u003c/p>\n\u003ch3>On the Watts Towers, an Unexpected Manifestation of Utopia\u003c/h3>\n\u003cp>Simon Rodia built the Watts Towers over the span of 25 years in the community of Watts. When he started building, Watts was a predominantly African-American neighborhood. He built the towers after work in a strangely collective manner. There are anecdotes about his neighbors saying, ‘It’s fine if you build these towers, but can you just stop working on them past 10 o’clock? Because we all have to get up to work in the morning.’\u003c/p>\n\u003cp>Now, the Watts Towers function as a kind of artery and cultural currency and leverage. And the fact that Simon Rodia built these towers and then literally gave them away to the community is an act of radical generosity.\u003c/p>\n\u003cfigure id=\"attachment_13892116\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/watts-1-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Ray’s photo of a group of young men holding a transistor radio at the Watts Tower inspired Cauleen Smith to recreate the photo in her film, ‘Sojourner.’ \u003ccite>(Bill Ray/LIFE/Time Inc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Watts Towers Influence on ‘Sojourner’\u003c/h3>\n\u003cp>I stumbled on this image by Time-Life photographer Bill Ray while doing research on the Watts Towers. It felt like a fantastical image, of young men holding transistor radios and languidly hanging out in the Watts Towers. Beautiful contrast, beautiful color—almost like a fashion shoot. But as I dug deeper into the context for these photos, I learned that the angle of his story was supposed to be the angry, seething aftermath of the Watts Rebellion in 1965.\u003c/p>\n\u003cp>One of the things that Bill Ray’s photograph provoked in me was that when we talk about activism, change, politics, and power, the thing that is always pictured is a male image. But in fact, the actual manifestation of change has always been the work of women. I wanted to make it really visible that Black women have been imagining a better world—and not only imagining it, but making it so.\u003c/p>\n\u003cp>This photo became a talisman in terms of my research. So I decided that I wanted to reenact that photo somehow, but with women instead of the gorgeous young men in the photo he took.\u003c/p>\n\u003cfigure id=\"attachment_13892115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith weaves the motif of the transistor radio throughout ‘Sojourner,’ using it to tune in and out of different historical reflections on Black women’s lives. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>‘We would like to affirm that we find our origins in the historical reality of Afro-American women’s continuous life, and the struggle for survival and liberation. As Angela Davis points out in ‘Reflections on the Black Woman’s Role in the Community of Slaves,’ Black women have always embodied, if only in their physical manifestation, an adversary stance to white male rule. And have actively resisted its inroads upon them and in communities in both dramatic and subtle ways.’ – Combahee River Collective, 1977\u003c/p>\u003c/blockquote>\n\u003ch3>On the Combahee River Collective, the Black Lesbian Feminist Organization\u003c/h3>\n\u003cp>Throughout \u003cem>Sojourner\u003c/em> you hear voices being transmitted to me, like, right when I needed them somehow. Some are words from the \u003ca href=\"https://en.wikipedia.org/wiki/Combahee_River_Collective\" rel=\"noopener noreferrer\" target=\"_blank\">Combahee River Collective\u003c/a>, which wrote this astounding \u003ca href=\"https://www.blackpast.org/african-american-history/combahee-river-collective-statement-1977/\">statement\u003c/a> published in 1977. It discusses the conditions of being a Black woman and it’s still a document of great use and value. It’s very contemporary in terms of the stakes it’s describing.\u003c/p>\n\u003cp>The part [of the statement] that is so crucial to remember is that if we start building a world based on the position of the least powerful and least empowered in society, we will be building a better world for everyone. The statement is from the perspective of Black women, and their political position actually enables a kind of liberatory ethic for the entire society. I think that is a really important principle and why the document is so vital right now.\u003c/p>\n\u003cfigure id=\"attachment_13892118\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg\" alt=\"Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA.\" width=\"720\" height=\"1260\" class=\"size-full wp-image-13892118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi-160x280.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA. \u003ccite>(Courtesy of Harry Gamboa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Alice Coltrane, Whose Music Became the Soundtrack for ‘Sojourner’\u003c/h3>\n\u003cp>Sojourner opens with “\u003ca href=\"https://www.youtube.com/watch?v=Z-xR7sEoNlo&ab_channel=AliceColtrane-Topic\" rel=\"noopener noreferrer\" target=\"_blank\">Om Supreme\u003c/a>,” a song where \u003ca href=\"https://www.kqed.org/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected\">Alice Coltrane\u003c/a> repeats the word “California” over and over again in this ecstatic fashion. The song basically says that God told her to move to California.\u003c/p>\n\u003cp>I have never heard anything like the music she made. She really is bringing in bebop, gospel, and the raga form all into one sound. It just blows my mind. I find it totally intoxicating.\u003c/p>\n\u003cp>After John Coltrane [Alice Coltrane’s husband] died, she and her four children moved to Calabasas County. She bought this gorgeous piece of land and started an ashram that attracted all kinds of people from all over the country—especially Black people interested in vedic spirituality—to practice religion and music with her.\u003c/p>\n\u003cp>Alice Coltrane had already passed away when I finally had the opportunity to visit. I was stricken with this world that she’d built and how her students were still there practicing with the same kind of ethic and generosity that she generated there.\u003c/p>\n\u003ch3>On California’s Landscape: Alice Coltrane’s ashram, Antelope Valley Poppy Reserve, Vasquez Rocks, Watts Towers\u003c/h3>\n\u003cp>There’s something about the land in California: those rolling poppies in Southern California, and in particular, the place where Alice Coltrane settled so close to the ocean. In those rolling hills, it feels as if anything is possible.\u003c/p>\n\u003cp>The main glue of the film is the women carrying neon orange banners through the landscape. They carry them from the Watts Towers to Dockweiler Beach, and all the way out to the desert. The phrases on these banners are a quote, the last four lines of Alice Coltrane’s book \u003cem>A Monument Eternal\u003c/em>: “At dawn, sit at the feet of action. At noon, be at the hand of might. At eventide be so big that sky will learn sky.” I just thought that was the most beautiful thing anyone could say to anyone else. It’s like a prayer or a wish, a blessing. A gift.\u003c/p>\n\u003cfigure id=\"attachment_13892114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Sojourner, a group of women walk out in the desert at sunrise, showcasing Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Film’s Closing Scene, at Sunrise in Joshua Tree\u003c/h3>\n\u003cp>I knew sunrises are always gorgeous. That’s a given. But the way that light, once it raked across the desert, the second it crossed over the mountains…wow. It was truly profound. I didn’t have to give a lot of directions. I didn’t have to set a tone. The landscape and that sunrise did everything.\u003c/p>\n\u003cp>A lot of times people [believe the closing scene includes] 12 Black women in the desert, but it doesn’t. It’s a really diverse group of women. But they are, I believe, practicing Black culture. Those women are holding each other’s hands, grieving together, and walking together. I wanted to simply allow these women to be visible, to be pictured, and to be present in themselves, for themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>On the Closure of California Museums\u003c/h3>\n\u003cp>I’m hoping that we can get a handle on COVID soon so people can see my work. It really is about this moment. It’s about what’s possible now and in the future. It’s been hard to have a show installed at my favorite art institution in the city, the L.A. County Museum of Art, and not be able to share it with people. But I think relative to the piles of bodies stacking up all around, that’s nothing. It’s just not even something to complain about. It’s simply a signifier of the conditions. I would rather no one see the show and no one die. I just wish that could be the case.\u003c/p>\n\u003cp>https://youtu.be/AUmBgxrcDWk\u003c/p>\n\u003ch3>On Her Work Responding to This Moment in History\u003c/h3>\n\u003cp>I feel like my work has always spoken to this moment, and will continue to do so. The fact that people are finally paying attention to state-sanctioned violence against Black people is great, but we’ve been living with it for generations.\u003c/p>\n\u003cp>Now, this is actually work for white people to do. We’ve seen the face of white supremacy in our neighbors, our coworkers, and strangers on the street. For people who are shocked by what they saw at the Capitol, it’s time to think about the ways in which they themselves are connected to that kind of violence in their own lives, in their own families, in their own workplaces, and think about what they want to do about it.\u003c/p>\n\u003ch3>On Finding Micro-Moments of Joy and Hope\u003c/h3>\n\u003cp>I’m very fortunate to live in Boyle Heights in a little bungalow with a big backyard. I go back there and dig holes and plant plants and watch them grow. What I’ve learned is more than how plants grow, but what they bring: hummingbirds, butterflies, goldfinches, and crows. I just really love watching our backyard become a place for other creatures to live in. And having a closer attachment to the land has been really nice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Artist Cauleen Smith on Black Feminist Utopia in California | KQED",
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"headline": "Artist Cauleen Smith on Black Feminist Utopia in California",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.cauleensmith.com/\">Cauleen Smith\u003c/a>’s work is both Afrofuturistic and deeply historical, deriving inspiration from previous generations of Black women whose activism and art offer a gateway to spiritual enlightenment and liberation. Both poetic and political, Smith’s films weave in and out of real-life utopian universes, and show how these radically generous communities can offer a model for the rest of society. \u003c/p>\n\u003cp>One of Smith’s films, the 2018 short \u003cem>Sojourner\u003c/em>, explores communal settings across California, including Alice Coltrane’s ashram in the Santa Monica hills and Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree.\u003c/p>\n\u003cp>\u003cem>Sojourner\u003c/em> is currently on display in immersive installations—complete with a shag rug, disco ball, and custom wallpaper—at the \u003ca href=\"https://www.sfmoma.org/watch/cauleen-smith-imagines-a-black-feminist-utopia-2/\">San Francisco Museum of Modern Art\u003c/a> and the \u003ca href=\"https://www.lacma.org/art/exhibition/cauleen-smith-give-it-or-leave-it\">Los Angeles County Museum of Art\u003c/a>. (Due to the spread of COVID-19, both museums have been closed for much of the past year.)\u003c/p>\n\u003cp>Smith joined \u003ca href=\"https://www.kqed.org/californiareportmagazine\">California Report Magazine\u003c/a> host Sasha Khokha from her home in Boyle Heights to discuss her inspiration for \u003cem>Sojourner\u003c/em> and how her work responds to this current moment in history. Her answers have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13892110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46997_pubSOUJ_43-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sojourner’ examines the concept of utopia by featuring Black activists from Chicago to Los Angeles. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Concept of Utopia\u003c/h3>\n\u003cp>I’ve grown accustomed to having people dismiss utopia as impossible, fantastical, escapist, or a naive notion. But in reality, people make utopias happen all the time. To me, this film [Sojourner] was about looking very pointedly at individuals, groups of people, and their actions that produced utopian ethics and manifestations in the world.\u003c/p>\n\u003ch3>On the Watts Towers, an Unexpected Manifestation of Utopia\u003c/h3>\n\u003cp>Simon Rodia built the Watts Towers over the span of 25 years in the community of Watts. When he started building, Watts was a predominantly African-American neighborhood. He built the towers after work in a strangely collective manner. There are anecdotes about his neighbors saying, ‘It’s fine if you build these towers, but can you just stop working on them past 10 o’clock? Because we all have to get up to work in the morning.’\u003c/p>\n\u003cp>Now, the Watts Towers function as a kind of artery and cultural currency and leverage. And the fact that Simon Rodia built these towers and then literally gave them away to the community is an act of radical generosity.\u003c/p>\n\u003cfigure id=\"attachment_13892116\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892116\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/watts-1-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/watts-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Ray’s photo of a group of young men holding a transistor radio at the Watts Tower inspired Cauleen Smith to recreate the photo in her film, ‘Sojourner.’ \u003ccite>(Bill Ray/LIFE/Time Inc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Watts Towers Influence on ‘Sojourner’\u003c/h3>\n\u003cp>I stumbled on this image by Time-Life photographer Bill Ray while doing research on the Watts Towers. It felt like a fantastical image, of young men holding transistor radios and languidly hanging out in the Watts Towers. Beautiful contrast, beautiful color—almost like a fashion shoot. But as I dug deeper into the context for these photos, I learned that the angle of his story was supposed to be the angry, seething aftermath of the Watts Rebellion in 1965.\u003c/p>\n\u003cp>One of the things that Bill Ray’s photograph provoked in me was that when we talk about activism, change, politics, and power, the thing that is always pictured is a male image. But in fact, the actual manifestation of change has always been the work of women. I wanted to make it really visible that Black women have been imagining a better world—and not only imagining it, but making it so.\u003c/p>\n\u003cp>This photo became a talisman in terms of my research. So I decided that I wanted to reenact that photo somehow, but with women instead of the gorgeous young men in the photo he took.\u003c/p>\n\u003cfigure id=\"attachment_13892115\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46992_pubSOUJ_29-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith weaves the motif of the transistor radio throughout ‘Sojourner,’ using it to tune in and out of different historical reflections on Black women’s lives. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\u003cp>‘We would like to affirm that we find our origins in the historical reality of Afro-American women’s continuous life, and the struggle for survival and liberation. As Angela Davis points out in ‘Reflections on the Black Woman’s Role in the Community of Slaves,’ Black women have always embodied, if only in their physical manifestation, an adversary stance to white male rule. And have actively resisted its inroads upon them and in communities in both dramatic and subtle ways.’ – Combahee River Collective, 1977\u003c/p>\u003c/blockquote>\n\u003ch3>On the Combahee River Collective, the Black Lesbian Feminist Organization\u003c/h3>\n\u003cp>Throughout \u003cem>Sojourner\u003c/em> you hear voices being transmitted to me, like, right when I needed them somehow. Some are words from the \u003ca href=\"https://en.wikipedia.org/wiki/Combahee_River_Collective\" rel=\"noopener noreferrer\" target=\"_blank\">Combahee River Collective\u003c/a>, which wrote this astounding \u003ca href=\"https://www.blackpast.org/african-american-history/combahee-river-collective-statement-1977/\">statement\u003c/a> published in 1977. It discusses the conditions of being a Black woman and it’s still a document of great use and value. It’s very contemporary in terms of the stakes it’s describing.\u003c/p>\n\u003cp>The part [of the statement] that is so crucial to remember is that if we start building a world based on the position of the least powerful and least empowered in society, we will be building a better world for everyone. The statement is from the perspective of Black women, and their political position actually enables a kind of liberatory ethic for the entire society. I think that is a really important principle and why the document is so vital right now.\u003c/p>\n\u003cfigure id=\"attachment_13892118\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg\" alt=\"Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA.\" width=\"720\" height=\"1260\" class=\"size-full wp-image-13892118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/cauleen_smith_1-GAMBOA@180dpi-160x280.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Artist and filmmaker Cauleen Smith, whose work is currently on view at SFMOMA and LACMA. \u003ccite>(Courtesy of Harry Gamboa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Alice Coltrane, Whose Music Became the Soundtrack for ‘Sojourner’\u003c/h3>\n\u003cp>Sojourner opens with “\u003ca href=\"https://www.youtube.com/watch?v=Z-xR7sEoNlo&ab_channel=AliceColtrane-Topic\" rel=\"noopener noreferrer\" target=\"_blank\">Om Supreme\u003c/a>,” a song where \u003ca href=\"https://www.kqed.org/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected\">Alice Coltrane\u003c/a> repeats the word “California” over and over again in this ecstatic fashion. The song basically says that God told her to move to California.\u003c/p>\n\u003cp>I have never heard anything like the music she made. She really is bringing in bebop, gospel, and the raga form all into one sound. It just blows my mind. I find it totally intoxicating.\u003c/p>\n\u003cp>After John Coltrane [Alice Coltrane’s husband] died, she and her four children moved to Calabasas County. She bought this gorgeous piece of land and started an ashram that attracted all kinds of people from all over the country—especially Black people interested in vedic spirituality—to practice religion and music with her.\u003c/p>\n\u003cp>Alice Coltrane had already passed away when I finally had the opportunity to visit. I was stricken with this world that she’d built and how her students were still there practicing with the same kind of ethic and generosity that she generated there.\u003c/p>\n\u003ch3>On California’s Landscape: Alice Coltrane’s ashram, Antelope Valley Poppy Reserve, Vasquez Rocks, Watts Towers\u003c/h3>\n\u003cp>There’s something about the land in California: those rolling poppies in Southern California, and in particular, the place where Alice Coltrane settled so close to the ocean. In those rolling hills, it feels as if anything is possible.\u003c/p>\n\u003cp>The main glue of the film is the women carrying neon orange banners through the landscape. They carry them from the Watts Towers to Dockweiler Beach, and all the way out to the desert. The phrases on these banners are a quote, the last four lines of Alice Coltrane’s book \u003cem>A Monument Eternal\u003c/em>: “At dawn, sit at the feet of action. At noon, be at the hand of might. At eventide be so big that sky will learn sky.” I just thought that was the most beautiful thing anyone could say to anyone else. It’s like a prayer or a wish, a blessing. A gift.\u003c/p>\n\u003cfigure id=\"attachment_13892114\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892114\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut-1536x858.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS46993_pubSOUJ_33-copy-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Sojourner, a group of women walk out in the desert at sunrise, showcasing Noah Purifoy’s Outdoor Desert Art Museum in Joshua Tree. \u003ccite>(Courtesy of Cauleen Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Film’s Closing Scene, at Sunrise in Joshua Tree\u003c/h3>\n\u003cp>I knew sunrises are always gorgeous. That’s a given. But the way that light, once it raked across the desert, the second it crossed over the mountains…wow. It was truly profound. I didn’t have to give a lot of directions. I didn’t have to set a tone. The landscape and that sunrise did everything.\u003c/p>\n\u003cp>A lot of times people [believe the closing scene includes] 12 Black women in the desert, but it doesn’t. It’s a really diverse group of women. But they are, I believe, practicing Black culture. Those women are holding each other’s hands, grieving together, and walking together. I wanted to simply allow these women to be visible, to be pictured, and to be present in themselves, for themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>On the Closure of California Museums\u003c/h3>\n\u003cp>I’m hoping that we can get a handle on COVID soon so people can see my work. It really is about this moment. It’s about what’s possible now and in the future. It’s been hard to have a show installed at my favorite art institution in the city, the L.A. County Museum of Art, and not be able to share it with people. But I think relative to the piles of bodies stacking up all around, that’s nothing. It’s just not even something to complain about. It’s simply a signifier of the conditions. I would rather no one see the show and no one die. I just wish that could be the case.\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/AUmBgxrcDWk'\n title='//www.youtube.com/embed/AUmBgxrcDWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>On Her Work Responding to This Moment in History\u003c/h3>\n\u003cp>I feel like my work has always spoken to this moment, and will continue to do so. The fact that people are finally paying attention to state-sanctioned violence against Black people is great, but we’ve been living with it for generations.\u003c/p>\n\u003cp>Now, this is actually work for white people to do. We’ve seen the face of white supremacy in our neighbors, our coworkers, and strangers on the street. For people who are shocked by what they saw at the Capitol, it’s time to think about the ways in which they themselves are connected to that kind of violence in their own lives, in their own families, in their own workplaces, and think about what they want to do about it.\u003c/p>\n\u003ch3>On Finding Micro-Moments of Joy and Hope\u003c/h3>\n\u003cp>I’m very fortunate to live in Boyle Heights in a little bungalow with a big backyard. I go back there and dig holes and plant plants and watch them grow. What I’ve learned is more than how plants grow, but what they bring: hummingbirds, butterflies, goldfinches, and crows. I just really love watching our backyard become a place for other creatures to live in. And having a closer attachment to the land has been really nice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cblockquote>\n\u003cp>\u003cem>I have seen God – I have seen ungodly – none can be greater – none can compare to God.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> composed these words in December 1964, as part of a poem he called \u003cem>A Love Supreme. \u003c/em>He included the poem in the inside gatefold of an album by the same name, released the following year. That same year, a young couple in San Francisco heard Coltrane in concert, sharing a jolt of higher purpose when he seemed to fix them in his sights with the bell of his saxophone.\u003c/p>\n\u003cp>That couple, Franzo and Marina King, went on to \u003ca href=\"https://www.npr.org/2020/09/23/915846867/five-decades-on-an-eclectic-church-preaches-the-message-of-john-coltrane\">establish a church\u003c/a> devoted to Coltrane and his spiritual message, incorporating \u003cem>A Love Supreme \u003c/em>as their chief liturgical text. Their house of worship — known today as the St. John Will-I-Am Coltrane African Orthodox Church — has survived decades of change in a gentrifying city, while making a few notable revisions to its charter.\u003c/p>\n\u003cp>In this 20-minute documentary short, \u003cem>Jazz Night in America\u003c/em> pays a visit to the Coltrane Church, thoughtfully tracing its winding history — including a tumultuous period when Alice Coltrane, John’s widow, bestowed and then revoked her support. We’ll delve into the spiritual mysteries of \u003cem>A Love Supreme, \u003c/em>from “Acknowledgment” to “Psalm,” and consider what it means to be of service — to a calling, to a community, and to the music that sparked it all. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saint+Coltrane%3A+The+Church+Built+On+%27A+Love+Supreme%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\n\u003cp>\u003cem>I have seen God – I have seen ungodly – none can be greater – none can compare to God.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> composed these words in December 1964, as part of a poem he called \u003cem>A Love Supreme. \u003c/em>He included the poem in the inside gatefold of an album by the same name, released the following year. That same year, a young couple in San Francisco heard Coltrane in concert, sharing a jolt of higher purpose when he seemed to fix them in his sights with the bell of his saxophone.\u003c/p>\n\u003cp>That couple, Franzo and Marina King, went on to \u003ca href=\"https://www.npr.org/2020/09/23/915846867/five-decades-on-an-eclectic-church-preaches-the-message-of-john-coltrane\">establish a church\u003c/a> devoted to Coltrane and his spiritual message, incorporating \u003cem>A Love Supreme \u003c/em>as their chief liturgical text. Their house of worship — known today as the St. John Will-I-Am Coltrane African Orthodox Church — has survived decades of change in a gentrifying city, while making a few notable revisions to its charter.\u003c/p>\n\u003cp>In this 20-minute documentary short, \u003cem>Jazz Night in America\u003c/em> pays a visit to the Coltrane Church, thoughtfully tracing its winding history — including a tumultuous period when Alice Coltrane, John’s widow, bestowed and then revoked her support. We’ll delve into the spiritual mysteries of \u003cem>A Love Supreme, \u003c/em>from “Acknowledgment” to “Psalm,” and consider what it means to be of service — to a calling, to a community, and to the music that sparked it all. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saint+Coltrane%3A+The+Church+Built+On+%27A+Love+Supreme%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While the pandemic has closed music venues throughout the country, it hasn’t stopped the creation and composition of new music. On Saturday, Jan. 30, the Green Music Center presents Pulitzer Prize-winning trumpeter and composer Wynton Marsalis’s \u003cem>The Democracy! Suite\u003c/em>, a composition written during the COVID-19 pandemic and performed by the Jazz at Lincoln Center Orchestra Septet. \u003c/p>\n\u003cp>Filmed in New York City’s Frederick P. Rose Hall in September of last year, the musicians were able to gather safely according to city guidelines and record a concert to “tour” virtually at performing arts centers across the United States. In addition to Marsalis, the septet features Elliot Mason on trombone, Ted Nash on alto saxophone and flute, Walter Blanding on tenor and soprano saxophones, Dan Nimmer on piano, Carlos Henriquez on bass, and Obed Calvaire on drums. \u003c/p>\n\u003cp>Over its 45 minutes, \u003cem>The Democracy! Suite\u003c/em> reflects and responds to contemporary sociopolitical and economic issues, and ruminates on the potential of collective efforts to create a better future. With directly referential titles like “Sloganize, Patronize, Realize, Revolutionize (Black Lives Matters)” as well as more introspective ones, Marsalis explores the isolation brought by COVID, as well as themes of grief, loss, reflection, protest, and more. \u003c/p>\n\u003cp>“Jazz music is the perfect metaphor for democracy,” Marsalis said in announcing the suite. “The question that confronts us right now as a nation is, ‘Do we want to find a better way?’” Much of Marsalis’s past work has also been inspired by social and political issues, including the Grammy Award-winning \u003cem>Black Codes (From the Underground)\u003c/em> in 1985 and the Pulitzer Prize-winning \u003cem>Blood on the Fields\u003c/em> in 1996.\u003c/p>\n\u003cp>The recording of the concert is available for 48 hours after the link is emailed to ticket buyers on Jan. 30. Tickets are $10. \u003ca href=\"https://gmc.sonoma.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>While COVID-19 has drastically altered the incomes and livelihoods of many, it has been particularly devastating for artists throughout the Bay Area and the nation. Since the start of the pandemic, \u003ca href=\"https://www.sanjosejazz.org/\">San Jose Jazz (SJZ) \u003c/a>has been focused on supporting musicians, hosting a livestreamed concert series beginning last March that put 100% of donations into the hands of performing artists. This week, the San Jose Jazz board of directors announced the creation of the SJZ Jazz Aid Fund, seeking to provide additional relief for musicians in their community.\u003c/p>\n\u003cp>“The Bay Area is home to some of the best jazz musicians, anywhere,” said longtime San Jose Jazz board member Jan Decarli, who catalyzed the project. “We need to support them financially and keep them creating so the Bay Area remains a place where jazz artists can build careers.”\u003c/p>\n\u003cp>Members of the Bay Area jazz community, including music critics, jazz musicians, curators and radio correspondents, provided a list of recommendations from which \u003ca href=\"https://www.sanjosejazz.org/wp-content/uploads/2021/01/San-Jose-Jazz-Announces-Jazz-Aid-Fund_Jan_19_2021.pdf\">the cohort of grant recipients was selected\u003c/a>. With $30,000 in donations from board members and an additional $3,000 raised in the last months of 2020, the Jazz Aid Fund will provide 33 musicians with grants of $1,000 each to support themselves and create new work that will be premiered by SJZ.\u003c/p>\n\u003cp>The grantees include a diverse set of musicians of all kinds, including producers, vocalists, composers and more. Some, like San Francisco native and Grammy-nominated Afro-Latin percussionist John Santos, have already had long careers spanning decades, while others are younger, like pianist and The New School alum Javier Santiago.\u003c/p>\n\u003cp>Others have created their own spaces within the musical community, like Adam Theis, an Oakland-based multi-instrumentalist, producer, bandleader and composer who is also the co-founder and director of Jazz Mafia, a collective of local jazz, hip-hop, classical and global musicians. “To be commissioned to create a new work and to be paid fairly for it, especially in these upside-down times, is huge,” said Theis. “Not only does it help me stay afloat financially, but it is a huge morale booster and an encouraging reminder that the Bay Area does have love and support for its artists.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2021, SJZ plans to support even more artists through continued fundraising, and 10 artists from the original cohort of 33 will receive an additional grant. Those 10 musicians will record videos of full performances in a new music studio currently being developed by SJZ, to be used as promotional tools for the artists and released online.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While COVID-19 has drastically altered the incomes and livelihoods of many, it has been particularly devastating for artists throughout the Bay Area and the nation. Since the start of the pandemic, \u003ca href=\"https://www.sanjosejazz.org/\">San Jose Jazz (SJZ) \u003c/a>has been focused on supporting musicians, hosting a livestreamed concert series beginning last March that put 100% of donations into the hands of performing artists. This week, the San Jose Jazz board of directors announced the creation of the SJZ Jazz Aid Fund, seeking to provide additional relief for musicians in their community.\u003c/p>\n\u003cp>“The Bay Area is home to some of the best jazz musicians, anywhere,” said longtime San Jose Jazz board member Jan Decarli, who catalyzed the project. “We need to support them financially and keep them creating so the Bay Area remains a place where jazz artists can build careers.”\u003c/p>\n\u003cp>Members of the Bay Area jazz community, including music critics, jazz musicians, curators and radio correspondents, provided a list of recommendations from which \u003ca href=\"https://www.sanjosejazz.org/wp-content/uploads/2021/01/San-Jose-Jazz-Announces-Jazz-Aid-Fund_Jan_19_2021.pdf\">the cohort of grant recipients was selected\u003c/a>. With $30,000 in donations from board members and an additional $3,000 raised in the last months of 2020, the Jazz Aid Fund will provide 33 musicians with grants of $1,000 each to support themselves and create new work that will be premiered by SJZ.\u003c/p>\n\u003cp>The grantees include a diverse set of musicians of all kinds, including producers, vocalists, composers and more. Some, like San Francisco native and Grammy-nominated Afro-Latin percussionist John Santos, have already had long careers spanning decades, while others are younger, like pianist and The New School alum Javier Santiago.\u003c/p>\n\u003cp>Others have created their own spaces within the musical community, like Adam Theis, an Oakland-based multi-instrumentalist, producer, bandleader and composer who is also the co-founder and director of Jazz Mafia, a collective of local jazz, hip-hop, classical and global musicians. “To be commissioned to create a new work and to be paid fairly for it, especially in these upside-down times, is huge,” said Theis. “Not only does it help me stay afloat financially, but it is a huge morale booster and an encouraging reminder that the Bay Area does have love and support for its artists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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