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"content": "\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\n\u003cp>https://twitter.com/LesNesman5/status/1338866178513461255\u003c/p>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hKimh-iPd_0\u003c/p>\n\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\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/hKimh-iPd_0'\n title='//www.youtube.com/embed/hKimh-iPd_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Each year-end list, it seems, has its anointed jazz artifact of the year, a release of lost tapes that had been sitting in a closet or attic of bygone performances. In 2020, that honor seemed all but sure to go to \u003cem>Palo Alto\u003c/em>, a recording of Thelonious Monk’s quartet \u003ca href=\"https://datebook.sfchronicle.com/music/thelonious-monks-new-live-album-palo-alto-honors-the-day-the-jazz-legend-united-the-peninsula\" rel=\"noopener noreferrer\" target=\"_blank\">performing at a Bay Area high school\u003c/a>, recorded by the janitor. But a late contender has arrived and run away with the prize.\u003c/p>\n\u003cp>Sonny Rollins’ \u003cem>Rollins in Holland\u003c/em> almost shouldn’t exist. It chronicles three dates on a last-minute 1967 tour of the Netherlands, which are played on a last-minute saxophone that Rollins had just bought. The majority of the reel-to-reel tapes that make up the set sat on a shelf for over 50 years, untouched and barely labeled or not labeled at all, before being discovered and issued.\u003c/p>\n\u003cp>So not only is \u003cem>Rollins in Holland\u003c/em> historically important—filling the gaps, as it does, in the middle of Sonny Rollins’ six-year hiatus from studio sessions—but on certain sets like a mid-day performance from Hilversum, its sound quality is breathtaking. Rollins’ tenor reverberates from the stage’s high ceilings, and the rhythm section comes through crisp and clear, as if you’re right there in the room. The thrill of resurrection in pressing “play” is undeniable.\u003c/p>\n\u003cp>What the lower-fidelity recordings lose in warmth, they more than make up for in the trio’s inventiveness. Rollins is joined by the avant-garde drummer Han Bennik, who pushes the saxophonist into the outer planes of improvisation, and the very traditional bassist Rudd Jacobs, who pulls him back down to Earth. This results in Rollins dashing off cascading swells of free jazz one minute, and then blowing a melody from the Broadway hit \u003cem>Guys & Dolls\u003c/em> the next.\u003c/p>\n\u003cp>This sort of musical thrill ride is sustained throughout, with an element I realized I’d been missing in 2020: it’s \u003cem>fun\u003c/em>. Let’s have more of that in 2021.\u003c/p>\n\u003cp>[ad fullwidth]\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>\u003c/p>\n\u003cp>\u003cem>‘Rollins in Holland’ comes to streaming platforms Dec. 4.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each year-end list, it seems, has its anointed jazz artifact of the year, a release of lost tapes that had been sitting in a closet or attic of bygone performances. In 2020, that honor seemed all but sure to go to \u003cem>Palo Alto\u003c/em>, a recording of Thelonious Monk’s quartet \u003ca href=\"https://datebook.sfchronicle.com/music/thelonious-monks-new-live-album-palo-alto-honors-the-day-the-jazz-legend-united-the-peninsula\" rel=\"noopener noreferrer\" target=\"_blank\">performing at a Bay Area high school\u003c/a>, recorded by the janitor. But a late contender has arrived and run away with the prize.\u003c/p>\n\u003cp>Sonny Rollins’ \u003cem>Rollins in Holland\u003c/em> almost shouldn’t exist. It chronicles three dates on a last-minute 1967 tour of the Netherlands, which are played on a last-minute saxophone that Rollins had just bought. The majority of the reel-to-reel tapes that make up the set sat on a shelf for over 50 years, untouched and barely labeled or not labeled at all, before being discovered and issued.\u003c/p>\n\u003cp>So not only is \u003cem>Rollins in Holland\u003c/em> historically important—filling the gaps, as it does, in the middle of Sonny Rollins’ six-year hiatus from studio sessions—but on certain sets like a mid-day performance from Hilversum, its sound quality is breathtaking. Rollins’ tenor reverberates from the stage’s high ceilings, and the rhythm section comes through crisp and clear, as if you’re right there in the room. The thrill of resurrection in pressing “play” is undeniable.\u003c/p>\n\u003cp>What the lower-fidelity recordings lose in warmth, they more than make up for in the trio’s inventiveness. Rollins is joined by the avant-garde drummer Han Bennik, who pushes the saxophonist into the outer planes of improvisation, and the very traditional bassist Rudd Jacobs, who pulls him back down to Earth. This results in Rollins dashing off cascading swells of free jazz one minute, and then blowing a melody from the Broadway hit \u003cem>Guys & Dolls\u003c/em> the next.\u003c/p>\n\u003cp>This sort of musical thrill ride is sustained throughout, with an element I realized I’d been missing in 2020: it’s \u003cem>fun\u003c/em>. Let’s have more of that in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\n\u003cp>\u003cem>‘Rollins in Holland’ comes to streaming platforms Dec. 4.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dougie Stu’s Spiritual Jazz Debut is an Album for Going Inward",
"headTitle": "Dougie Stu’s Spiritual Jazz Debut is an Album for Going Inward | KQED",
"content": "\u003cp>For years, Douglas Stuart’s jazz bass chops and pop sensibility made him a crucial voice in Oakland’s music scene—one in which he tended to find himself just outside the spotlight.\u003c/p>\n\u003cp>He plays bass and keyboard, sings backing vocals and produces for the band \u003ca href=\"https://bellsatlas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bells Atlas\u003c/a>, a neo-soul and psychedelic pop quartet that has performed at festivals like Phono Del Sol, opened for Boots Riley’s The Coup and toured with the live show of popular podcast \u003cem>Snap Judgment\u003c/em>. Last year, Stuart debuted on another project, \u003ca href=\"https://brijean.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brijean\u003c/a>—led by his partner in music and in life, percussionist Brijean Murphy—where he fleshed out her conga-driven house and disco with cool-toned keys. [aside postid='arts_13889170']\u003c/p>\n\u003cp>Now, Stuart strikes out on his own with his solo debut as \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dougie Stu\u003c/a>, \u003cem>Familiar Future\u003c/em>. The spiritual jazz album—recorded prior to the pandemic—brings together some of the most talented, genre-defying players from Oakland and beyond. The lush, instrumental project has a comforting feel, like the onset of a pleasant dream in a well-deserved slumber. Flute, violin and cello drive exploratory melodies cushioned in shimmering keys, with the gentle pitter-patter of percussion like rain falling outside a window.\u003c/p>\n\u003cp>“I’ve definitely found myself going to a lot of music that’s more expansive—with slower tempos and more space in the music—because everything feel so heavy and overbearing in the world right now,” says Stuart in a Zoom interview from New Mexico, where he and Murphy recently relocated from the Bay Area.\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=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Stuart typically turns down his jazz improvisations on his pop-oriented work, he got to indulge his skills as a player and arranger on \u003cem>Familiar Future\u003c/em>. Jeff Parker, one of Stuart’s musical idols from when he was growing up in Chicago, joins him with guitar playing that at times evokes flamenco and surf rock. An ensemble of strings and wind instruments add intrigue and drama, with Marcus Stephans on bass clarinet and flute, Shaina Evoniuk on violin and Crystal Pascucci on cello. Maya Kronfeld lends the music a vintage feel on the Fender Rhodes piano. Murphy’s congas accompany Latin jazz percussion by John Santos, who has played with greats like Tito Puente and Dizzie Gillespie, and drumming by Hamir Atwal of Tune-Yards.\u003c/p>\n\u003cfigure id=\"attachment_13889517\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_2047-800x999.jpg\" alt=\"\" width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-1230x1536.jpg 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-1640x2048.jpg 1640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean Murphy and Douglas Stuart (left to right). \u003ccite>(Jack Bool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the big group effort, \u003cem>Familiar Future\u003c/em> represents a deepening of Stuart’s collaboration with Murphy. Surprisingly, Stuart says the couple avoided playing music together during their first years of dating because he didn’t want to mix their relationship and their professional lives. That changed one rainy day in Berkeley. “Brijean was like, ‘Let’s write a song,’” says Stuart. “It was super easy and fun, and since then we’ve had a really natural creative chemistry that I’m in awe of still.”\u003c/p>\n\u003cp>Murphy says she’s enjoyed watching each other grow and establish their voices as bandleaders. (The 2019 Brijean debut, \u003cem>Walkie Talkie\u003c/em>, is the first time Murphy stepped into the spotlight as well; she was previously a touring percussionist 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 Poolside.) “His music, to me, is really tranquil, yet cinematic and complex in an emotional way,” she says. “It’s a pleasure as a percussionist playing with such amazing musicians. Everything kind of melded perfectly.”\u003c/p>\n\u003cp>The imprint of some of Stuart’s inspirations, Alice Coltrane and Lonnie Liston Smith, is audible throughout \u003cem>Familiar Future\u003c/em>. Works by these spiritual jazz innovators from the 1960s and ’70s have had a resurgence in popularity in recent years; for listeners, myself included, their uplifting, transcendent melodies and unhurried song structures have \u003ca href=\"https://www.kqed.org/arts/13879258/bandcamp-recs-escapist-tunes-and-mood-lifting-grooves-to-melt-away-the-blues\" target=\"_blank\" rel=\"noopener noreferrer\">nurtured introspection\u003c/a> and much-needed optimism during the pandemic, when time seems to have slowed down.[aside postid='arts_13848868']\u003c/p>\n\u003cp>Coltrane’s influential album, \u003cem>\u003ca href=\"https://www.npr.org/2018/02/06/582178492/meditating-on-the-healing-power-of-alice-coltranes-journey-in-satchidananda\" target=\"_blank\" rel=\"noopener noreferrer\">Journey in Satchidananda\u003c/a>\u003c/em>, marked the start of a spiritual path for the harpist and composer after the death of her husband, John Coltrane. Stuart didn’t immediately make the connection to a similarly healing role spiritual jazz has played in his life. But in our interview, he reflects on how working on \u003cem>Familiar Future\u003c/em> has allowed to center, process, refocus and renew. Amid the slowdown in work and the isolation of sheltering in place, he also lost both of his parents within six months.\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>“It’s been really tough,” he says, pausing to collect himself. “But [I’ve had] the space and time to process it that I otherwise would not have, and would have had to make tough decisions—like taking time off of work and the inevitable letting people down.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Creating \u003cem>Familiar Future\u003c/em> helped Stuart slow down and turn inward. As we enter the winter season, when many of us will be spending more time alone and indoors, he wants to offer his listeners a similar experience of grounding. “It feels nice to have music that encourages you to breathe,” says Stuart, “and expand and process.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Stuart typically turns down his jazz improvisations on his pop-oriented work, he got to indulge his skills as a player and arranger on \u003cem>Familiar Future\u003c/em>. Jeff Parker, one of Stuart’s musical idols from when he was growing up in Chicago, joins him with guitar playing that at times evokes flamenco and surf rock. An ensemble of strings and wind instruments add intrigue and drama, with Marcus Stephans on bass clarinet and flute, Shaina Evoniuk on violin and Crystal Pascucci on cello. Maya Kronfeld lends the music a vintage feel on the Fender Rhodes piano. Murphy’s congas accompany Latin jazz percussion by John Santos, who has played with greats like Tito Puente and Dizzie Gillespie, and drumming by Hamir Atwal of Tune-Yards.\u003c/p>\n\u003cfigure id=\"attachment_13889517\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_2047-800x999.jpg\" alt=\"\" width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-1230x1536.jpg 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047-1640x2048.jpg 1640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2047.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean Murphy and Douglas Stuart (left to right). \u003ccite>(Jack Bool)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the big group effort, \u003cem>Familiar Future\u003c/em> represents a deepening of Stuart’s collaboration with Murphy. Surprisingly, Stuart says the couple avoided playing music together during their first years of dating because he didn’t want to mix their relationship and their professional lives. That changed one rainy day in Berkeley. “Brijean was like, ‘Let’s write a song,’” says Stuart. “It was super easy and fun, and since then we’ve had a really natural creative chemistry that I’m in awe of still.”\u003c/p>\n\u003cp>Murphy says she’s enjoyed watching each other grow and establish their voices as bandleaders. (The 2019 Brijean debut, \u003cem>Walkie Talkie\u003c/em>, is the first time Murphy stepped into the spotlight as well; she was previously a touring percussionist 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 Poolside.) “His music, to me, is really tranquil, yet cinematic and complex in an emotional way,” she says. “It’s a pleasure as a percussionist playing with such amazing musicians. Everything kind of melded perfectly.”\u003c/p>\n\u003cp>The imprint of some of Stuart’s inspirations, Alice Coltrane and Lonnie Liston Smith, is audible throughout \u003cem>Familiar Future\u003c/em>. Works by these spiritual jazz innovators from the 1960s and ’70s have had a resurgence in popularity in recent years; for listeners, myself included, their uplifting, transcendent melodies and unhurried song structures have \u003ca href=\"https://www.kqed.org/arts/13879258/bandcamp-recs-escapist-tunes-and-mood-lifting-grooves-to-melt-away-the-blues\" target=\"_blank\" rel=\"noopener noreferrer\">nurtured introspection\u003c/a> and much-needed optimism during the pandemic, when time seems to have slowed down.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Coltrane’s influential album, \u003cem>\u003ca href=\"https://www.npr.org/2018/02/06/582178492/meditating-on-the-healing-power-of-alice-coltranes-journey-in-satchidananda\" target=\"_blank\" rel=\"noopener noreferrer\">Journey in Satchidananda\u003c/a>\u003c/em>, marked the start of a spiritual path for the harpist and composer after the death of her husband, John Coltrane. Stuart didn’t immediately make the connection to a similarly healing role spiritual jazz has played in his life. But in our interview, he reflects on how working on \u003cem>Familiar Future\u003c/em> has allowed to center, process, refocus and renew. Amid the slowdown in work and the isolation of sheltering in place, he also lost both of his parents within six months.\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>“It’s been really tough,” he says, pausing to collect himself. “But [I’ve had] the space and time to process it that I otherwise would not have, and would have had to make tough decisions—like taking time off of work and the inevitable letting people down.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Creating \u003cem>Familiar Future\u003c/em> helped Stuart slow down and turn inward. As we enter the winter season, when many of us will be spending more time alone and indoors, he wants to offer his listeners a similar experience of grounding. “It feels nice to have music that encourages you to breathe,” says Stuart, “and expand and process.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Let's Talk About That Reconciliation During the 'Fresh Prince Reunion Special'",
"headTitle": "Let’s Talk About That Reconciliation During the ‘Fresh Prince Reunion Special’ | KQED",
"content": "\u003cp>The unspoken rules of gathering the cast of a beloved TV show for a reunion special are familiar: Gin up the nostalgia and warm, fuzzy feels. Montages and clip reels highlight the memorable onscreen moments from years past, as everyone jovially reminisces about the time spent playing and creating together on set. If a key member is absent because of behind-the-scenes drama or personal setbacks, try to avoid acknowledging they were ever a part of the show in the first place, and/or gloss over any tensions that might spoil the lovefest. Put on a happy face.\u003c/p>\n\u003cp>The \u003cem>Fresh Prince of Bel-Air Reunion Special\u003c/em>, now on HBO Max, follows this rule faithfully for more than half of its run time. Will Smith, Alfonso Ribeiro (Carlton Banks), Tatyana Ali (Ashley Banks), Karyn Parsons (Hilary Banks), Joseph Marcell (Jeffrey, the butler), Daphne Maxwell Reid (Aunt Viv #2) and DJ Jazzy Jeff sit on a recreation of the Banks family mansion set, recounting audition stories and favorite scenes in honor of the 30\u003csup>th\u003c/sup> anniversary of the hit sitcom’s premiere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ghMFFe2Q9hA\u003c/p>\n\u003cp>But then, right around the 45-minute mark (and immediately following a genuinely moving tribute to the late James Avery, who played the show’s indelible patriarch, Uncle Phil), this \u003cem>Fresh Prince \u003c/em>reunion dispenses with rules and pleasantries to address the giant elephant in the room—the \u003ca href=\"https://www.huffpost.com/entry/janet-hubert-will-smith-feud-fired_n_3249314\" target=\"_blank\" rel=\"noopener noreferrer\">highly publicized fallout\u003c/a> between Smith and Janet Hubert, who was unceremoniously replaced by Reid in her role as Aunt Viv in the show’s final three seasons. For the first time in 27 years, Smith and Hubert come together to clear the air.\u003c/p>\n\u003cp>“It felt like I couldn’t celebrate 30 years of \u003cem>Fresh Prince\u003c/em> without finding a way to celebrate Janet,” Smith tells his castmates, before showing them, and us, video of their pre-taped meeting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s most striking about their exchange is how familiar Hubert’s story is for women in the workplace. During Season 3 when she became pregnant, she says, she was facing challenges in her personal life (her then-husband was abusive and unemployed), which indirectly bled into how she approached her work on set. Hubert says this led to the much more powerful Smith painting her on set and in the media as someone who was “difficult” to work with, and that she was told he was responsible for her being forced out. When she was offered a new, restrictive contract—she would only work two and a half months out of the year, her salary would be cut, and she would be prohibited from accepting other jobs outside of \u003cem>Fresh Prince—\u003c/em>she refused to accept the offer. [aside postid='pop_108150']\u003c/p>\n\u003cp>Hubert points out that she was never “unprofessional” on set, only more reserved. It’s hard to hear such a revelation and not think of the many ways in which this echoes the corporate mindset of bosses who tout the workplace and colleagues as “family” so as to ignore the fact that, for their employees, this is their livelihood; they deserve to be paid a living wage, to have lives outside of work, to just be human. Smith and his other co-stars talk a lot about how much they enjoyed their experience on \u003cem>Fresh Prince \u003c/em>and how it didn’t feel like they were doing a job so much as they were part of a tight-knit family. That’s a heartwarming and admirable kind of environment to exist in, but it’s rarely the reality for everyone. And it doesn’t leave room for accepting that it’s OK to treat your job like it’s actually a job, too—especially if your mental health and well-being outside of work is suffering.\u003c/p>\n\u003cp>Hubert is candid and specific in how this mischaracterization of her attitude and work ethic tarnished her career, particularly as a dark-skinned woman: “Calling a black woman difficult in Hollywood is the kiss of death.” The actress Mo’Nique, among many others, can certainly attest to this, having said she’s been blackballed in the industry since refusing to campaign for \u003cem>Precious \u003c/em>without the promise of additional pay. (“We got labeled as ‘difficult’ because I said one word, and that was: ‘No,'” she \u003ca href=\"https://deadline.com/2019/02/steve-harvey-and-monique-get-into-tense-exchange-1202557010/\" target=\"_blank\" rel=\"noopener noreferrer\">told Steve Harvey last year\u003c/a>.)\u003c/p>\n\u003cp>For Smith’s part, he admits he was neither “sensitive” nor “perceptive” to Hubert’s troubles during her pregnancy, and seems genuinely contrite for how he treated her. He also notes that at the time he was still very young and immature, and that now, having been married with kids of his own, he’s grown to understand what she was up against at that time in her life.\u003c/p>\n\u003cp>But as Hubert gently but sternly notes, the damage was done, and while Will was able to move forward and achieve greater and greater success post-\u003cem>Fresh Prince\u003c/em>, she’s never had that chance. “You took all that away from me with your words. Words can kill.” It’s a harsh reminder of the power of perception, and how so many men are able to wield that power swiftly and devastatingly against women who don’t bend to their will.\u003c/p>\n\u003cp>There’s deep sadness to be felt in the profound loss, both for Hubert’s career and for the later seasons of \u003cem>Fresh Prince. \u003c/em>Her performance as Aunt Viv was groundbreaking in its depiction of a woman who looked like her possessing a range of emotions and attitudes on TV in that era. Hubert could easily glide between saucy and elegant and righteous, often in a single scene. [aside postid='pop_104883']\u003c/p>\n\u003cp>As unsettling as the circumstances of this conversation are, its existence here is also refreshing. For all of the enduring popularity of \u003cem>Fresh Prince\u003c/em> and the general goodwill Smith has managed to maintain in the decades since becoming one of Hollywood’s biggest movie stars, Hubert’s departure has long loomed over the show’s legacy. To address it so directly is a smart P.R. move on Smith’s part—if there’s any actor working today who exudes the need to please crowds and be liked by everyone, it’s him—but it also feels like exactly what Hubert needed in order to provide closure.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And while they may never share the same strong ties as Smith has with the rest of his co-stars, she at least she seems at peace. For those few moments, funnily enough, the special feels like an actual family reunion with real stakes, as the estranged relatives awkwardly and uncomfortably confront one another, let it all out, and, finally and cathartically, reach reconciliation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Let%27s+Talk+About+That+Reconciliation+During+The+%27Fresh+Prince+Reunion+Special%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The unspoken rules of gathering the cast of a beloved TV show for a reunion special are familiar: Gin up the nostalgia and warm, fuzzy feels. Montages and clip reels highlight the memorable onscreen moments from years past, as everyone jovially reminisces about the time spent playing and creating together on set. If a key member is absent because of behind-the-scenes drama or personal setbacks, try to avoid acknowledging they were ever a part of the show in the first place, and/or gloss over any tensions that might spoil the lovefest. Put on a happy face.\u003c/p>\n\u003cp>The \u003cem>Fresh Prince of Bel-Air Reunion Special\u003c/em>, now on HBO Max, follows this rule faithfully for more than half of its run time. Will Smith, Alfonso Ribeiro (Carlton Banks), Tatyana Ali (Ashley Banks), Karyn Parsons (Hilary Banks), Joseph Marcell (Jeffrey, the butler), Daphne Maxwell Reid (Aunt Viv #2) and DJ Jazzy Jeff sit on a recreation of the Banks family mansion set, recounting audition stories and favorite scenes in honor of the 30\u003csup>th\u003c/sup> anniversary of the hit sitcom’s premiere.\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/ghMFFe2Q9hA'\n title='//www.youtube.com/embed/ghMFFe2Q9hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But then, right around the 45-minute mark (and immediately following a genuinely moving tribute to the late James Avery, who played the show’s indelible patriarch, Uncle Phil), this \u003cem>Fresh Prince \u003c/em>reunion dispenses with rules and pleasantries to address the giant elephant in the room—the \u003ca href=\"https://www.huffpost.com/entry/janet-hubert-will-smith-feud-fired_n_3249314\" target=\"_blank\" rel=\"noopener noreferrer\">highly publicized fallout\u003c/a> between Smith and Janet Hubert, who was unceremoniously replaced by Reid in her role as Aunt Viv in the show’s final three seasons. For the first time in 27 years, Smith and Hubert come together to clear the air.\u003c/p>\n\u003cp>“It felt like I couldn’t celebrate 30 years of \u003cem>Fresh Prince\u003c/em> without finding a way to celebrate Janet,” Smith tells his castmates, before showing them, and us, video of their pre-taped meeting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s most striking about their exchange is how familiar Hubert’s story is for women in the workplace. During Season 3 when she became pregnant, she says, she was facing challenges in her personal life (her then-husband was abusive and unemployed), which indirectly bled into how she approached her work on set. Hubert says this led to the much more powerful Smith painting her on set and in the media as someone who was “difficult” to work with, and that she was told he was responsible for her being forced out. When she was offered a new, restrictive contract—she would only work two and a half months out of the year, her salary would be cut, and she would be prohibited from accepting other jobs outside of \u003cem>Fresh Prince—\u003c/em>she refused to accept the offer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hubert points out that she was never “unprofessional” on set, only more reserved. It’s hard to hear such a revelation and not think of the many ways in which this echoes the corporate mindset of bosses who tout the workplace and colleagues as “family” so as to ignore the fact that, for their employees, this is their livelihood; they deserve to be paid a living wage, to have lives outside of work, to just be human. Smith and his other co-stars talk a lot about how much they enjoyed their experience on \u003cem>Fresh Prince \u003c/em>and how it didn’t feel like they were doing a job so much as they were part of a tight-knit family. That’s a heartwarming and admirable kind of environment to exist in, but it’s rarely the reality for everyone. And it doesn’t leave room for accepting that it’s OK to treat your job like it’s actually a job, too—especially if your mental health and well-being outside of work is suffering.\u003c/p>\n\u003cp>Hubert is candid and specific in how this mischaracterization of her attitude and work ethic tarnished her career, particularly as a dark-skinned woman: “Calling a black woman difficult in Hollywood is the kiss of death.” The actress Mo’Nique, among many others, can certainly attest to this, having said she’s been blackballed in the industry since refusing to campaign for \u003cem>Precious \u003c/em>without the promise of additional pay. (“We got labeled as ‘difficult’ because I said one word, and that was: ‘No,'” she \u003ca href=\"https://deadline.com/2019/02/steve-harvey-and-monique-get-into-tense-exchange-1202557010/\" target=\"_blank\" rel=\"noopener noreferrer\">told Steve Harvey last year\u003c/a>.)\u003c/p>\n\u003cp>For Smith’s part, he admits he was neither “sensitive” nor “perceptive” to Hubert’s troubles during her pregnancy, and seems genuinely contrite for how he treated her. He also notes that at the time he was still very young and immature, and that now, having been married with kids of his own, he’s grown to understand what she was up against at that time in her life.\u003c/p>\n\u003cp>But as Hubert gently but sternly notes, the damage was done, and while Will was able to move forward and achieve greater and greater success post-\u003cem>Fresh Prince\u003c/em>, she’s never had that chance. “You took all that away from me with your words. Words can kill.” It’s a harsh reminder of the power of perception, and how so many men are able to wield that power swiftly and devastatingly against women who don’t bend to their will.\u003c/p>\n\u003cp>There’s deep sadness to be felt in the profound loss, both for Hubert’s career and for the later seasons of \u003cem>Fresh Prince. \u003c/em>Her performance as Aunt Viv was groundbreaking in its depiction of a woman who looked like her possessing a range of emotions and attitudes on TV in that era. Hubert could easily glide between saucy and elegant and righteous, often in a single scene. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As unsettling as the circumstances of this conversation are, its existence here is also refreshing. For all of the enduring popularity of \u003cem>Fresh Prince\u003c/em> and the general goodwill Smith has managed to maintain in the decades since becoming one of Hollywood’s biggest movie stars, Hubert’s departure has long loomed over the show’s legacy. To address it so directly is a smart P.R. move on Smith’s part—if there’s any actor working today who exudes the need to please crowds and be liked by everyone, it’s him—but it also feels like exactly what Hubert needed in order to provide closure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while they may never share the same strong ties as Smith has with the rest of his co-stars, she at least she seems at peace. For those few moments, funnily enough, the special feels like an actual family reunion with real stakes, as the estranged relatives awkwardly and uncomfortably confront one another, let it all out, and, finally and cathartically, reach reconciliation.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Let%27s+Talk+About+That+Reconciliation+During+The+%27Fresh+Prince+Reunion+Special%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Elmo Sings! Watch Him Perform 'It Feels Good (When You Sing a Song)'",
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"content": "\u003cp>It’s no shocker that jazz and \u003cem>Sesame Street\u003c/em> go hand in hand. The show has a long tradition of featuring jazz artists, such as Wynton Marsalis, as special guests, and some of the TV show’s most famous music has found a life within the jazz ecosystem. These topics were all explored on a recent episode of the radio show \u003ca href=\"https://www.npr.org/series/347174538/jazz-night-radio\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jazz Night in America\u003c/em>\u003c/a>\u003cem>,\u003c/em> which also featured concert material from \u003cem>A Swinging Sesame Celebration\u003c/em> at Jazz at Lincoln Center.\u003c/p>\n\u003cp>But, radio can only go so far. To \u003cem>see\u003c/em> the \u003cem>Sesame Street\u003c/em> gang on stage with the Jazz at Lincoln Center Orchestra with Wynton Marsalis… let’s just say be careful not to sprain yourself smiling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g7KDpcRjrF0\u003c/p>\n\u003cp>We’re premiering a duet between Elmo and Hoots the Owl. The characters Hoots and Elmo are old friends—Elmo joined \u003cem>Sesame\u003c/em> in 1980, Hoots in 1985—and their friendship shows on stage. Christopher Thomas Hayes, who plays Hoots the Owl, spoke to us in character about their performance. “It doesn’t matter what you sing about as long as you’re doing it,” he hooted. “It helps when you’re with a friend, too. I love jamming with Elmo. He’s only 3 and a half but that guy’s got some chops, man! I’ll tell you that!”\u003c/p>\n\u003cp>“It Feels Good (When You Sing A Song)” kicks off with some stage banter from Elmo and Hoots. Trumpeter Kenny Rampton chimes in, along with some other members of the orchestra, before they all launch into the rockin’ number. In addition to playing with the JALCO, Rampton is also a member of the \u003cem>Sesame Street\u003c/em> band. “It really was worlds colliding,” he said. “A really beautiful experience for me personally.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After 50 years, \u003cem>Sesame\u003c/em> has earned international recognition. Millions of children worldwide watch every year. “When I think about the first time that a kid hears the sound of a trumpet, it may very well be me on \u003cem>Sesame Street\u003c/em>,” Rampton said. “It’s just an amazing thing to be a part of on so many levels. ”\u003c/p>\n\u003cp>As far as Hoots the Owl, the sound of \u003cem>his\u003c/em> horn on stage at Jazz at Lincoln Center is saxophonist Sherman Irby. Also in the broadcast, Ted Nash plays sax—poorly—as Ernie for “Put Down the Duckie” and Elmo and Wynton Marsalis put a new take on “Elmo’s Song.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PBS aired the concert from Jazz at Lincoln Center on Friday, Oct. 30, with on-stage skits and new arrangements on classics, and deep cuts, from the \u003cem>Sesame Street\u003c/em> songbook.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elmo+Sings%21+Watch+Him+Perform+%27It+Feels+Good+%28When+You+Sing+a+Song%29%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no shocker that jazz and \u003cem>Sesame Street\u003c/em> go hand in hand. The show has a long tradition of featuring jazz artists, such as Wynton Marsalis, as special guests, and some of the TV show’s most famous music has found a life within the jazz ecosystem. These topics were all explored on a recent episode of the radio show \u003ca href=\"https://www.npr.org/series/347174538/jazz-night-radio\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Jazz Night in America\u003c/em>\u003c/a>\u003cem>,\u003c/em> which also featured concert material from \u003cem>A Swinging Sesame Celebration\u003c/em> at Jazz at Lincoln Center.\u003c/p>\n\u003cp>But, radio can only go so far. To \u003cem>see\u003c/em> the \u003cem>Sesame Street\u003c/em> gang on stage with the Jazz at Lincoln Center Orchestra with Wynton Marsalis… let’s just say be careful not to sprain yourself smiling.\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/g7KDpcRjrF0'\n title='//www.youtube.com/embed/g7KDpcRjrF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We’re premiering a duet between Elmo and Hoots the Owl. The characters Hoots and Elmo are old friends—Elmo joined \u003cem>Sesame\u003c/em> in 1980, Hoots in 1985—and their friendship shows on stage. Christopher Thomas Hayes, who plays Hoots the Owl, spoke to us in character about their performance. “It doesn’t matter what you sing about as long as you’re doing it,” he hooted. “It helps when you’re with a friend, too. I love jamming with Elmo. He’s only 3 and a half but that guy’s got some chops, man! I’ll tell you that!”\u003c/p>\n\u003cp>“It Feels Good (When You Sing A Song)” kicks off with some stage banter from Elmo and Hoots. Trumpeter Kenny Rampton chimes in, along with some other members of the orchestra, before they all launch into the rockin’ number. In addition to playing with the JALCO, Rampton is also a member of the \u003cem>Sesame Street\u003c/em> band. “It really was worlds colliding,” he said. “A really beautiful experience for me personally.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After 50 years, \u003cem>Sesame\u003c/em> has earned international recognition. Millions of children worldwide watch every year. “When I think about the first time that a kid hears the sound of a trumpet, it may very well be me on \u003cem>Sesame Street\u003c/em>,” Rampton said. “It’s just an amazing thing to be a part of on so many levels. ”\u003c/p>\n\u003cp>As far as Hoots the Owl, the sound of \u003cem>his\u003c/em> horn on stage at Jazz at Lincoln Center is saxophonist Sherman Irby. Also in the broadcast, Ted Nash plays sax—poorly—as Ernie for “Put Down the Duckie” and Elmo and Wynton Marsalis put a new take on “Elmo’s Song.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PBS aired the concert from Jazz at Lincoln Center on Friday, Oct. 30, with on-stage skits and new arrangements on classics, and deep cuts, from the \u003cem>Sesame Street\u003c/em> songbook.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elmo+Sings%21+Watch+Him+Perform+%27It+Feels+Good+%28When+You+Sing+a+Song%29%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This is What It’s Actually Like to See a Drive-In Concert in the Bay Area",
"headTitle": "This is What It’s Actually Like to See a Drive-In Concert in the Bay Area | KQED",
"content": "\u003cp>After months of sheltering in place, being outside and around people feels strange—even for \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\">Thundercat\u003c/a>, who played his first show since the COVID-19 shutdown at the \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a> in Burlingame last night. “This has been a weird year,” he told the audience. “Anybody struggle through \u003ca href=\"https://www.kqed.org/science/1970641/watch-video-of-first-ever-climate-change-segment-in-a-presidential-debate\" target=\"_blank\" rel=\"noopener noreferrer\">the debate\u003c/a> before this to make it worse?”\u003c/p>\n\u003cp>“Well, we’ll be alright—or not,” he continued with an ambivalent laugh, basically personifying the \u003ca href=\"https://www.theverge.com/2016/5/5/11592622/this-is-fine-meme-comic\" target=\"_blank\" rel=\"noopener noreferrer\">“this is fine” meme\u003c/a>, before recommending that his audience tune into the \u003ca href=\"https://www.newsweek.com/yashahime-princess-half-demon-inuyasha-sequel-anime-release-date-time-1535744\" target=\"_blank\" rel=\"noopener noreferrer\">new \u003cem>Inuyasha \u003c/em>sequel\u003c/a>.\u003c/p>\n\u003cp>In an oversized \u003cem>Dragon Ball\u003c/em> t-shirt, with his dyed hair grown out and showing roots, it was clear that the celebrated jazz-pop bassist and singer has been just as affected by the cooped-up boredom, isolation and political malaise of 2020 as the rest of us. Between the airy, falsetto choruses of tracks from his new album, \u003cem>It Is What It Is\u003c/em>—the title of which unintentionally echoes a \u003ca href=\"https://www.nbcnews.com/politics/donald-trump/it-what-it-trump-interview-covid-19-death-toll-u-n1235734\" target=\"_blank\" rel=\"noopener noreferrer\">dismal Trump quote\u003c/a> about the pandemic, appropriate for a year of dark nihilism—Thundercat seemed to go from awkward to alive while shredding on his six-string bass, making the “ooh” faces of an impassioned rock star in sync with his instrument.\u003c/p>\n\u003cp>Like the audience, he looked at once thrilled and confused to experience the first fully fledged concert in ages in what basically amounted to a parking lot. At one point, he joked that our honks of approval sounded like road rage, calling it triggering, but he thanked us for our enthusiasm anyway.\u003c/p>\n\u003cfigure id=\"attachment_13888309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0120-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the Bayshore Drive-In in Burlingame on Oct. 22. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Thundercat show was the first of a new concert series at the Bayshore Drive-In. It’s a golf course near the San Francisco International Airport that local sound company \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts converted into a venue\u003c/a>, with booking help from promoter Hotbox, which puts on these types of concerts across the country—a new trend thanks to the pandemic. It’s admittedly an odd place to see live music, but few Bay Area locations have enough space to meet COVID-19 safety requirements for a drive-in show, so I’m not complaining.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Low-flying planes zoomed by and a community soccer game went on in the field behind the stage while \u003ca href=\"https://www.instagram.com/djumami/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> played a bouncy and eclectic opening set with remixes of Cardi B’s “WAP” and “\u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">Dreams\u003c/a>” by Fleetwood Mac.\u003c/p>\n\u003cp>Mostly young groups of friends, people who probably would have been at Outside Lands or Coachella had they happened this year, danced around their cars. When Umami dropped the \u003ca href=\"https://soundcloud.com/trackademicks/e-40-tell-me-when-to-gotrackademicks-remix\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks remix of E-40’s “Tell Me When To Go,”\u003c/a> a few posses moshed and headbanged. The group next to me brought their own drinks in Solo cups. Witnessing the joy and seeing everyone’s crisp sneakers and colorful windbreakers made me feel, for a second, like I was in the “before times”; it was almost like the club, except for there was over 30 feet of distance between the performers and the audience, and we were in masks and not allowed to mingle. (I snuck a quick wave to my friend in another car on the way to the port-a-potty.) [aside postid='arts_13888163']\u003c/p>\n\u003cp>All things considered, Thundercat’s performance was a promising start for the Bayshore Drive-In. The audience was flexible and respectful of the rules; everyone wore their masks and stuck to their group. (“Don’t let us end up on Fox News,” event organizer Robbie Kowal implored from the stage during one of his reminders to socially distance.) There was a bit of a traffic jam coming in, but getting out was impressively swift.\u003c/p>\n\u003cp>Drive-in concerts aren’t ideal by any means, but if this is the way to safely see live music as our country struggles to contain the pandemic, I’ll definitely take it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Concerts at the Bayshore Drive-In continue with Pink Martini, Major Lazer and more. \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After months of sheltering in place, being outside and around people feels strange—even for \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\">Thundercat\u003c/a>, who played his first show since the COVID-19 shutdown at the \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a> in Burlingame last night. “This has been a weird year,” he told the audience. “Anybody struggle through \u003ca href=\"https://www.kqed.org/science/1970641/watch-video-of-first-ever-climate-change-segment-in-a-presidential-debate\" target=\"_blank\" rel=\"noopener noreferrer\">the debate\u003c/a> before this to make it worse?”\u003c/p>\n\u003cp>“Well, we’ll be alright—or not,” he continued with an ambivalent laugh, basically personifying the \u003ca href=\"https://www.theverge.com/2016/5/5/11592622/this-is-fine-meme-comic\" target=\"_blank\" rel=\"noopener noreferrer\">“this is fine” meme\u003c/a>, before recommending that his audience tune into the \u003ca href=\"https://www.newsweek.com/yashahime-princess-half-demon-inuyasha-sequel-anime-release-date-time-1535744\" target=\"_blank\" rel=\"noopener noreferrer\">new \u003cem>Inuyasha \u003c/em>sequel\u003c/a>.\u003c/p>\n\u003cp>In an oversized \u003cem>Dragon Ball\u003c/em> t-shirt, with his dyed hair grown out and showing roots, it was clear that the celebrated jazz-pop bassist and singer has been just as affected by the cooped-up boredom, isolation and political malaise of 2020 as the rest of us. Between the airy, falsetto choruses of tracks from his new album, \u003cem>It Is What It Is\u003c/em>—the title of which unintentionally echoes a \u003ca href=\"https://www.nbcnews.com/politics/donald-trump/it-what-it-trump-interview-covid-19-death-toll-u-n1235734\" target=\"_blank\" rel=\"noopener noreferrer\">dismal Trump quote\u003c/a> about the pandemic, appropriate for a year of dark nihilism—Thundercat seemed to go from awkward to alive while shredding on his six-string bass, making the “ooh” faces of an impassioned rock star in sync with his instrument.\u003c/p>\n\u003cp>Like the audience, he looked at once thrilled and confused to experience the first fully fledged concert in ages in what basically amounted to a parking lot. At one point, he joked that our honks of approval sounded like road rage, calling it triggering, but he thanked us for our enthusiasm anyway.\u003c/p>\n\u003cfigure id=\"attachment_13888309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0120-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the Bayshore Drive-In in Burlingame on Oct. 22. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Thundercat show was the first of a new concert series at the Bayshore Drive-In. It’s a golf course near the San Francisco International Airport that local sound company \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts converted into a venue\u003c/a>, with booking help from promoter Hotbox, which puts on these types of concerts across the country—a new trend thanks to the pandemic. It’s admittedly an odd place to see live music, but few Bay Area locations have enough space to meet COVID-19 safety requirements for a drive-in show, so I’m not complaining.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Low-flying planes zoomed by and a community soccer game went on in the field behind the stage while \u003ca href=\"https://www.instagram.com/djumami/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> played a bouncy and eclectic opening set with remixes of Cardi B’s “WAP” and “\u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">Dreams\u003c/a>” by Fleetwood Mac.\u003c/p>\n\u003cp>Mostly young groups of friends, people who probably would have been at Outside Lands or Coachella had they happened this year, danced around their cars. When Umami dropped the \u003ca href=\"https://soundcloud.com/trackademicks/e-40-tell-me-when-to-gotrackademicks-remix\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks remix of E-40’s “Tell Me When To Go,”\u003c/a> a few posses moshed and headbanged. The group next to me brought their own drinks in Solo cups. Witnessing the joy and seeing everyone’s crisp sneakers and colorful windbreakers made me feel, for a second, like I was in the “before times”; it was almost like the club, except for there was over 30 feet of distance between the performers and the audience, and we were in masks and not allowed to mingle. (I snuck a quick wave to my friend in another car on the way to the port-a-potty.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All things considered, Thundercat’s performance was a promising start for the Bayshore Drive-In. The audience was flexible and respectful of the rules; everyone wore their masks and stuck to their group. (“Don’t let us end up on Fox News,” event organizer Robbie Kowal implored from the stage during one of his reminders to socially distance.) There was a bit of a traffic jam coming in, but getting out was impressively swift.\u003c/p>\n\u003cp>Drive-in concerts aren’t ideal by any means, but if this is the way to safely see live music as our country struggles to contain the pandemic, I’ll definitely take it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Concerts at the Bayshore Drive-In continue with Pink Martini, Major Lazer and more. \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the Bay Area began sheltering in place in March, Robbie Kowal of \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a> was looking at a complete drop off in business. His company puts on thousands of silent disco events a year for music festivals, private parties and business conferences, and suddenly those were off the table indefinitely.\u003c/p>\n\u003cp>“We have no events, so there’s no industry. It’s tough, really tough,” he \u003ca href=\"https://www.kqed.org/arts/13876314/coronavirus-cancelations-threaten-livelihoods-of-independent-artists\" target=\"_blank\" rel=\"noopener noreferrer\">said at the time\u003c/a>.\u003c/p>\n\u003cp>It turns out that Kowal’s expertise in sound engineering for wireless headphones and other unconventional setups was a saving grace for his business. In addition to doing sound via headphones for socially distanced weddings and SoulCycle classes, he’s producing drive-in concerts with promoter \u003ca href=\"https://www.iwannahotbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hotbox\u003c/a> at Burlingame’s \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a>, a golf course-turned-concert venue in the South Bay.\u003c/p>\n\u003cp>Drive-in concerts popped up in the Bay Area earlier this year, with Jerry Garcia tribute band Jerry’s Middle Finger entertaining car-bound crowds at Solano County Fairgrounds in July; additionally, ZZ Top, Van Halen and Tom Petty tribute bands rocked out at the Alameda County Fairgrounds, and Metallica broadcast a pre-taped show. But the Bayshore Drive-In shows are the first to target a young audience, with local nightlife outfits \u003ca href=\"http://1015.com/\" target=\"_blank\" rel=\"noopener noreferrer\">1015 Folsom\u003c/a> and \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> coming on as co-presenters.\u003c/p>\n\u003cp>Bassist, singer and Kendrick Lamar collaborator \u003ca href=\"http://www.bayshoredrivein.com/event/thundercat-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Thundercat\u003c/a> performs live at the Bayshore Drive-In on Oct. 22; Diplo-assisted, globally inspired EDM crew \u003ca href=\"http://www.bayshoredrivein.com/event/major-lazer/\" target=\"_blank\" rel=\"noopener noreferrer\">Major Lazer\u003c/a> plays on Oct. 24; \u003ca href=\"http://www.bayshoredrivein.com/event/shiba-san-j-phlip-dirtybird/\" target=\"_blank\" rel=\"noopener noreferrer\">Shiba San and J.Phlip\u003c/a> from house music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a> spin on Oct. 23. \u003ca href=\"http://www.bayshoredrivein.com/event/pink-martini-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Pink Martini\u003c/a> brings multi-lingual lounge and jazz on Oct. 25; \u003ca href=\"http://www.bayshoredrivein.com/event/colors-worldwide-presents-rb-only-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Colors Worldwide\u003c/a> DJs play R&B for the lovers out there on Oct. 29. And viral sensation \u003ca href=\"http://www.bayshoredrivein.com/event/marc-rebillet-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Rebillet\u003c/a> performs his cheeky production wizardry on Halloween night and Nov. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drive-in concerts are new territory for Bay Area event producers. In addition to the typical costs of paying the talent, crew and security and setting up a stage and amplified sound, there’s also the work that goes into mapping out the Bayshore Drive-In to fit dozens of cars, have them enter and exit in a timely fashion and allow for social distancing. Not to mention that the way you hear the music from inside your car is going to be different than if you were standing in the audience, so HUSHconcerts is doing both amplified sound and an FM broadcast.\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“It’s a pretty ambitious undertaking, what we’re trying to pull off out there,” Kowal says. “But I think we’re well positioned to make it successful.”\u003c/span>\u003c/p>\n\u003cp>Ticketing at drive-in concerts is also different, with the prices ranging from $89-$349 per four-passenger car, depending on the show. That might sound steep, but because of the extra costs of producing a pandemic-safe event, Kowal says that the promoters are barely making a profit.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“If this was strictly a business-model thing, I don’t think we’d be doing these shows. We’re doing them because we want our community to be able to get together again, and to put our production experts back to work,” he explains. [aside postid='arts_13886812,arts_13883952,arts_13887455,arts_13887215' label='More on the State of Concerts']\u003c/span>\u003c/p>\n\u003cp>It’s well documented that government relief for the concert industry has been scant. The \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> to help venues still awaits a congressional vote, many musicians haven’t qualified for unemployment and \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor entertainment\u003c/a> is only starting up on a small scale in cities like San Francisco. HUSHconcerts qualified for a Paycheck Protection Program loan, which carried the company through the summer months, and now Kowal says that he and his industry peers are eager to find pandemic-safe solutions until the events industry can safely resume.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“What it seems to me is making a safe event is super expensive and super risky. Even if your show does well but people get sick, that’s not successful. And if you show \u003cem>doesn’t\u003c/em> do well, that’s not successful either,” he says. “We’ve had to redefine what success is.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“You put some people to work, you made some people smile and no one got sick—that’s a massive win.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Bay Area began sheltering in place in March, Robbie Kowal of \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a> was looking at a complete drop off in business. His company puts on thousands of silent disco events a year for music festivals, private parties and business conferences, and suddenly those were off the table indefinitely.\u003c/p>\n\u003cp>“We have no events, so there’s no industry. It’s tough, really tough,” he \u003ca href=\"https://www.kqed.org/arts/13876314/coronavirus-cancelations-threaten-livelihoods-of-independent-artists\" target=\"_blank\" rel=\"noopener noreferrer\">said at the time\u003c/a>.\u003c/p>\n\u003cp>It turns out that Kowal’s expertise in sound engineering for wireless headphones and other unconventional setups was a saving grace for his business. In addition to doing sound via headphones for socially distanced weddings and SoulCycle classes, he’s producing drive-in concerts with promoter \u003ca href=\"https://www.iwannahotbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hotbox\u003c/a> at Burlingame’s \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a>, a golf course-turned-concert venue in the South Bay.\u003c/p>\n\u003cp>Drive-in concerts popped up in the Bay Area earlier this year, with Jerry Garcia tribute band Jerry’s Middle Finger entertaining car-bound crowds at Solano County Fairgrounds in July; additionally, ZZ Top, Van Halen and Tom Petty tribute bands rocked out at the Alameda County Fairgrounds, and Metallica broadcast a pre-taped show. But the Bayshore Drive-In shows are the first to target a young audience, with local nightlife outfits \u003ca href=\"http://1015.com/\" target=\"_blank\" rel=\"noopener noreferrer\">1015 Folsom\u003c/a> and \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> coming on as co-presenters.\u003c/p>\n\u003cp>Bassist, singer and Kendrick Lamar collaborator \u003ca href=\"http://www.bayshoredrivein.com/event/thundercat-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Thundercat\u003c/a> performs live at the Bayshore Drive-In on Oct. 22; Diplo-assisted, globally inspired EDM crew \u003ca href=\"http://www.bayshoredrivein.com/event/major-lazer/\" target=\"_blank\" rel=\"noopener noreferrer\">Major Lazer\u003c/a> plays on Oct. 24; \u003ca href=\"http://www.bayshoredrivein.com/event/shiba-san-j-phlip-dirtybird/\" target=\"_blank\" rel=\"noopener noreferrer\">Shiba San and J.Phlip\u003c/a> from house music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a> spin on Oct. 23. \u003ca href=\"http://www.bayshoredrivein.com/event/pink-martini-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Pink Martini\u003c/a> brings multi-lingual lounge and jazz on Oct. 25; \u003ca href=\"http://www.bayshoredrivein.com/event/colors-worldwide-presents-rb-only-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Colors Worldwide\u003c/a> DJs play R&B for the lovers out there on Oct. 29. And viral sensation \u003ca href=\"http://www.bayshoredrivein.com/event/marc-rebillet-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Rebillet\u003c/a> performs his cheeky production wizardry on Halloween night and Nov. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drive-in concerts are new territory for Bay Area event producers. In addition to the typical costs of paying the talent, crew and security and setting up a stage and amplified sound, there’s also the work that goes into mapping out the Bayshore Drive-In to fit dozens of cars, have them enter and exit in a timely fashion and allow for social distancing. Not to mention that the way you hear the music from inside your car is going to be different than if you were standing in the audience, so HUSHconcerts is doing both amplified sound and an FM broadcast.\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“It’s a pretty ambitious undertaking, what we’re trying to pull off out there,” Kowal says. “But I think we’re well positioned to make it successful.”\u003c/span>\u003c/p>\n\u003cp>Ticketing at drive-in concerts is also different, with the prices ranging from $89-$349 per four-passenger car, depending on the show. That might sound steep, but because of the extra costs of producing a pandemic-safe event, Kowal says that the promoters are barely making a profit.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“If this was strictly a business-model thing, I don’t think we’d be doing these shows. We’re doing them because we want our community to be able to get together again, and to put our production experts back to work,” he explains. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>It’s well documented that government relief for the concert industry has been scant. The \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> to help venues still awaits a congressional vote, many musicians haven’t qualified for unemployment and \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor entertainment\u003c/a> is only starting up on a small scale in cities like San Francisco. HUSHconcerts qualified for a Paycheck Protection Program loan, which carried the company through the summer months, and now Kowal says that he and his industry peers are eager to find pandemic-safe solutions until the events industry can safely resume.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“What it seems to me is making a safe event is super expensive and super risky. Even if your show does well but people get sick, that’s not successful. And if you show \u003cem>doesn’t\u003c/em> do well, that’s not successful either,” he says. “We’ve had to redefine what success is.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“You put some people to work, you made some people smile and no one got sick—that’s a massive win.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ambrose Akinmusire Soundtracks Black Resistance from Oakland to the World",
"headTitle": "Ambrose Akinmusire Soundtracks Black Resistance from Oakland to the World | KQED",
"content": "\u003cp>In June, as the date approached for \u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ambrose Akinmusire\u003c/a>’s fifth release on famed jazz label Blue Note Records, people across the country flooded the streets in protest. The Black Lives Matter movement and the long-standing fight for racial justice picked up with reinvigorated momentum, and the composer, trumpet player and bandleader’s stunning new album, \u003cem>on the tender spot of every calloused moment\u003c/em>, felt like nothing short of a necessary companion piece to this moment in the quest for Black liberation.\u003c/p>\n\u003cp>For the Oakland-born and -bred Akinmusire, \u003cem>on the tender spot of every calloused moment\u003c/em> is a continuation of the Black art he’s been creating long before this recent surge in civil unrest.\u003c/p>\n\u003cp>“All of my albums have been released at the time of Black trauma in the U.S.,” Akinmusire says. “But I probably wouldn’t have been doing this had it not been for the Oscar Grant shooting happening at the same time I was releasing my first album. That hit home.”\u003c/p>\n\u003cp>Akinmusire and Grant were from the same area, were close in age and knew some of the same people. “His uncle and auntie would come to my shows and I talked to them a couple times,” he says. “So I was thrust into this very personal feeling because I \u003cem>know\u003c/em> what Fruitvale BART station looks like, I \u003cem>know\u003c/em> the sounds and I \u003cem>know\u003c/em> what it’s like to be on that platform waiting for trains.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6PTSXZ3c5ZsZzmYUD749ji\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Akinmusire’s ability to make music that speaks to his changing experience in the shapeshifting tumult of America has made the 38 year old one of the most respected creators in jazz. In 2007, the Berkeley High School graduate won the prestigious Thelonious Monk Competition, paving the way for his illustrious career. Now part of Blue Note’s core roster, Akinmusire has also played alongside masters like saxophonist Steve Coleman, pianist Vijay Ayer and bassist Esperanza Spalding. He graced the cover of jazz publication \u003cem>Downbeat Magazine\u003c/em> in 2014 and in 2017, and played trumpet on Kendrick Lamar’s groundbreaking \u003cem>To Pimp A Butterfly\u003c/em>, appearing on the album’s stirring closing track, “\u003ca href=\"https://youtu.be/axwpgn3GRMs\" target=\"_blank\" rel=\"noopener noreferrer\">Mortal Man\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Akinmusire’s journey started in the Bay Area. Born in North Oakland to a Nigerian father and a mother from Mississippi, he first played piano at his Baptist church before taking to trumpet at Santa Fe Elementary School. He eventually became a part of the famed Berkeley High jazz band when his mother—seeing the potential and passion in the young musician—lobbied for an inter-district transfer successfully, with an assist from then-band director Charles Hamilton.\u003c/p>\n\u003cp>While at Berkeley High, Akinmusire became part of the Monterey Jazz Festival’s Next Generation Orchestra and then attended the Manhattan School of Music in New York. Afterwards, he moved to Los Angeles to get his master’s degree at the University of Southern California’s Thelonious Monk Institute of Jazz Performance. After moving back and forth from New York to L.A. for more than 15 years and touring the world many times over, Akinmusire finally settled back down in Oakland in 2016.\u003c/p>\n\u003cp>“I moved back to Oakland mainly because I wanted to know what it felt like to create from the place,” he says. “A lot of people come from a place that inspires their art, but they don’t return to it and continue creating.”\u003c/p>\n\u003cp>https://youtu.be/swcSU71gixw\u003c/p>\n\u003cp>Since moving back, Akinmusire released the 2018 \u003cem>Origami Harvest\u003c/em> EP along with this year’s \u003cem>on the tender spot…\u003c/em> The two diverge sonically at times, but converge thematically within the composer’s story arc. \u003cem>Origami Harvest\u003c/em> teems with hip-hop sensibility on tracks like “a blooming bloodfruit in a hoodie” and “Americana / the garden waits for you to match her wilderness.” Akinmusire describes the project as his “last bits of optimism” in the discussion of America’s glaringly opposing social forces. \u003cem>on the tender spot…\u003c/em> takes a different approach, simmering in the somber blues of an unjust system on tracks like “Yessss” and “reset (quiet victories&celebrated defeats).”\u003c/p>\n\u003cp>“On the new one, we’re not talking anymore,” Akinmusire says. “It’s about acceptance and, now, action.”\u003c/p>\n\u003cp>Richmond native \u003ca href=\"https://www.nytimes.com/2018/06/27/arts/music/justin-brown-nyeusi.html\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Brown\u003c/a> plays drums throughout the new album. He forged a musical relationship with Akinmusire at the Young Musicians Program at UC Berkeley. Even back then when they were barely teenagers, the aspiring bandleader was lobbying Brown—two years his junior—to join him at Berkeley High. Brown (who also plays drums with L.A. future-funk bassist Thundercat) has since played across most of Akinmusire’s discography, and the two remain close. [aside postid='arts_13885663']\u003c/p>\n\u003cp>“He’s allowed himself to work at his craft and gain knowledge and life experience,” Brown says. “It’s almost like you can hear it throughout his music how his personality is changing. You can see transitions that reflect his life. It’s a tough thing already being a Black man in this world, but submitting to being a Black artist can come with a lot of existential dread, and it can come with a lot of insight. I think he’s one that just submitted to that.”\u003c/p>\n\u003cp>It’s clear that Akinmusire is far from done. When we speak, he’s easy going and often gregarious, but always even-keeled and comfortable in his reflections and intent. He speaks proudly of the masterclasses he taught at USC from 2012–2015 and laments how even before the pandemic, the infrastructure isn’t what it used to be for aspiring musicians in the Bay Area. [aside postid='arts_13885235']\u003c/p>\n\u003cp>He hints at what lies ahead and says he wants to help provide a place for local, young musicians to flourish in their art, just like he learned to do while performing with his mentors at multiple gigs a night on both sides of the Bay Bridge. Those experiences allowed him to share his talent with the world and see firsthand the power of his music.\u003c/p>\n\u003cp>“Art has the power to educate people,” he says. “For me, Black art gives space for the non-living to live and to affect people and hopefully liberate them from their ignorance.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In June, as the date approached for \u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ambrose Akinmusire\u003c/a>’s fifth release on famed jazz label Blue Note Records, people across the country flooded the streets in protest. The Black Lives Matter movement and the long-standing fight for racial justice picked up with reinvigorated momentum, and the composer, trumpet player and bandleader’s stunning new album, \u003cem>on the tender spot of every calloused moment\u003c/em>, felt like nothing short of a necessary companion piece to this moment in the quest for Black liberation.\u003c/p>\n\u003cp>For the Oakland-born and -bred Akinmusire, \u003cem>on the tender spot of every calloused moment\u003c/em> is a continuation of the Black art he’s been creating long before this recent surge in civil unrest.\u003c/p>\n\u003cp>“All of my albums have been released at the time of Black trauma in the U.S.,” Akinmusire says. “But I probably wouldn’t have been doing this had it not been for the Oscar Grant shooting happening at the same time I was releasing my first album. That hit home.”\u003c/p>\n\u003cp>Akinmusire and Grant were from the same area, were close in age and knew some of the same people. “His uncle and auntie would come to my shows and I talked to them a couple times,” he says. “So I was thrust into this very personal feeling because I \u003cem>know\u003c/em> what Fruitvale BART station looks like, I \u003cem>know\u003c/em> the sounds and I \u003cem>know\u003c/em> what it’s like to be on that platform waiting for trains.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6PTSXZ3c5ZsZzmYUD749ji\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Akinmusire’s ability to make music that speaks to his changing experience in the shapeshifting tumult of America has made the 38 year old one of the most respected creators in jazz. In 2007, the Berkeley High School graduate won the prestigious Thelonious Monk Competition, paving the way for his illustrious career. Now part of Blue Note’s core roster, Akinmusire has also played alongside masters like saxophonist Steve Coleman, pianist Vijay Ayer and bassist Esperanza Spalding. He graced the cover of jazz publication \u003cem>Downbeat Magazine\u003c/em> in 2014 and in 2017, and played trumpet on Kendrick Lamar’s groundbreaking \u003cem>To Pimp A Butterfly\u003c/em>, appearing on the album’s stirring closing track, “\u003ca href=\"https://youtu.be/axwpgn3GRMs\" target=\"_blank\" rel=\"noopener noreferrer\">Mortal Man\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Akinmusire’s journey started in the Bay Area. Born in North Oakland to a Nigerian father and a mother from Mississippi, he first played piano at his Baptist church before taking to trumpet at Santa Fe Elementary School. He eventually became a part of the famed Berkeley High jazz band when his mother—seeing the potential and passion in the young musician—lobbied for an inter-district transfer successfully, with an assist from then-band director Charles Hamilton.\u003c/p>\n\u003cp>While at Berkeley High, Akinmusire became part of the Monterey Jazz Festival’s Next Generation Orchestra and then attended the Manhattan School of Music in New York. Afterwards, he moved to Los Angeles to get his master’s degree at the University of Southern California’s Thelonious Monk Institute of Jazz Performance. After moving back and forth from New York to L.A. for more than 15 years and touring the world many times over, Akinmusire finally settled back down in Oakland in 2016.\u003c/p>\n\u003cp>“I moved back to Oakland mainly because I wanted to know what it felt like to create from the place,” he says. “A lot of people come from a place that inspires their art, but they don’t return to it and continue creating.”\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/swcSU71gixw'\n title='//www.youtube.com/embed/swcSU71gixw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since moving back, Akinmusire released the 2018 \u003cem>Origami Harvest\u003c/em> EP along with this year’s \u003cem>on the tender spot…\u003c/em> The two diverge sonically at times, but converge thematically within the composer’s story arc. \u003cem>Origami Harvest\u003c/em> teems with hip-hop sensibility on tracks like “a blooming bloodfruit in a hoodie” and “Americana / the garden waits for you to match her wilderness.” Akinmusire describes the project as his “last bits of optimism” in the discussion of America’s glaringly opposing social forces. \u003cem>on the tender spot…\u003c/em> takes a different approach, simmering in the somber blues of an unjust system on tracks like “Yessss” and “reset (quiet victories&celebrated defeats).”\u003c/p>\n\u003cp>“On the new one, we’re not talking anymore,” Akinmusire says. “It’s about acceptance and, now, action.”\u003c/p>\n\u003cp>Richmond native \u003ca href=\"https://www.nytimes.com/2018/06/27/arts/music/justin-brown-nyeusi.html\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Brown\u003c/a> plays drums throughout the new album. He forged a musical relationship with Akinmusire at the Young Musicians Program at UC Berkeley. Even back then when they were barely teenagers, the aspiring bandleader was lobbying Brown—two years his junior—to join him at Berkeley High. Brown (who also plays drums with L.A. future-funk bassist Thundercat) has since played across most of Akinmusire’s discography, and the two remain close. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He’s allowed himself to work at his craft and gain knowledge and life experience,” Brown says. “It’s almost like you can hear it throughout his music how his personality is changing. You can see transitions that reflect his life. It’s a tough thing already being a Black man in this world, but submitting to being a Black artist can come with a lot of existential dread, and it can come with a lot of insight. I think he’s one that just submitted to that.”\u003c/p>\n\u003cp>It’s clear that Akinmusire is far from done. When we speak, he’s easy going and often gregarious, but always even-keeled and comfortable in his reflections and intent. He speaks proudly of the masterclasses he taught at USC from 2012–2015 and laments how even before the pandemic, the infrastructure isn’t what it used to be for aspiring musicians in the Bay Area. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He hints at what lies ahead and says he wants to help provide a place for local, young musicians to flourish in their art, just like he learned to do while performing with his mentors at multiple gigs a night on both sides of the Bay Bridge. Those experiences allowed him to share his talent with the world and see firsthand the power of his music.\u003c/p>\n\u003cp>“Art has the power to educate people,” he says. “For me, Black art gives space for the non-living to live and to affect people and hopefully liberate them from their ignorance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rediscovering the Social and Spiritual Legacy of Oakland's Black Jazz Records",
"headTitle": "Rediscovering the Social and Spiritual Legacy of Oakland’s Black Jazz Records | KQED",
"content": "\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=QZ6lB7FKxi8\u003c/p>\n\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=38OXtiRZ2ig\u003c/p>\n\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q1iYOsc0dv4&list=PLwZ1XNI9r5B6IDrYVEwz85GQoMLMJu097\u003c/p>\n\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QjysP0PTthY\u003c/p>\n\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\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/QZ6lB7FKxi8'\n title='//www.youtube.com/embed/QZ6lB7FKxi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\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/38OXtiRZ2ig'\n title='//www.youtube.com/embed/38OXtiRZ2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\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/Q1iYOsc0dv4'\n title='//www.youtube.com/embed/Q1iYOsc0dv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\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/QjysP0PTthY'\n title='//www.youtube.com/embed/QjysP0PTthY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before CGI was invented, Marcel Duchamp made his 1926 experimental film, \u003cem>Anémic Cinéma\u003c/em>, by creating abstract shapes out of cardboard and spinning them on a turnable for hypnotizing effect. (This was nearly a decade after he signed his name on a urinal and called it a sculpture, inventing the readymade and redefining what art could be.)\u003c/p>\n\u003cp>\u003cem>Anémic Cinéma\u003c/em> and many other strange, surreal cinematic feats from the first half of the 20th century will be playing on Oct. 1 at San Francisco’s new drive-in movie theater, \u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix\u003c/a>. The program, co-presented by Intersection for the Arts and curated by Izzy Parlamis, is called \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and features films by Duchamp and other experimentalists such as Slavko Vorkapich and Mary Ellen Bute.\u003c/p>\n\u003cp>To bring these films into the modern day, some talented, up-and-coming songwriters and improvisors recorded new soundtracks. The list of artists includes classically trained pop auteur \u003ca href=\"https://kadhjabonet.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kadhja Bonet\u003c/a>, jazz improvisors \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and \u003ca href=\"https://cheflee.bandcamp.com/album/snowflake-clone-vol-2-instrumentals\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Latin soul band \u003ca href=\"https://almasfronterizas.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Almas Fronterizas\u003c/a>.\u003c/p>\n\u003cp>Off the Grid will serve food, and 50% of ticket proceeds go to \u003ca href=\"https://www.astraeafoundation.org/stories/transgender-gender-variant-and-intersex-justice-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a>, which advocates for trans and gender-nonconforming people in jails and prisons. \u003ca href=\"https://www.eventbrite.com/e/loud-cinema-tickets-118073951367\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"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.",
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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",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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