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"content": "\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11941785']The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Behind the Kronos Quartet’s gorgeous string arrangements is a deep commitment to creative exploration, cross-cultural collaboration and making music accessible to fans and players alike. That’s why their annual \u003ca href=\"http://kronosquartet.org/kronos-festival-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Festival\u003c/a> tends to feature some of the most exciting contemporary classical music seen in the Bay Area.\u003c/p>\n\u003cp>This year, the festival takes place mostly online June 11–18, with nine events and 14 world premieres of new musical compositions and films. On June 11, Malian singer Hawa Kassé Mady Diabaté premieres her new pice \u003cem>Wawani\u003c/em>, which she performed with her daughter Rokia Kouyaté in a film shot in Mali. Korean composer Soo Yeon Lyuh debuts a piece called \u003cem>Tattoo\u003c/em>, which she wrote after someone fired a gun at her car in Berkeley. And Iranian classical singer Mahsa Vahdat (whose \u003ci>Enlighten the Night\u003c/i> made KQED’s list of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">best Bay Area albums of 2020\u003c/a>) performs \u003cem>Vaya, Vaya\u003c/em>, presented in a film by Laurie Olinder.\u003c/p>\n\u003cp>All these performances screen on opening night, which also features new works by Nicole Lizée, Stacy Garrop, Tadi Todi, Clint Mansell, Jlin, Sam Amidon, Brian Carpenter, Lee Knight and Aoife O’Donovan.\u003c/p>\n\u003cp>Additional virtual concerts with a vast lineup of diverse artists take place on June 13, 16 and 18, and the festival invites fans to gather in person in Golden Gate Park on June 12 for a GPS-guided musical tour. Composed by Ellen Reid and performed by Kronos and others, \u003cem>Soundwalk\u003c/em> can be heard through an app that plays location-specific compositions as the listener makes their way through the landscape.\u003c/p>\n\u003cp>Kronos Festival also includes a program for kids on June 13 and several documentary short film premieres on June 13, 14, 15 and 17, including Valerie Soe’s \u003cem>Radical Care: The Auntie Sewing Squad\u003c/em>, about the people who jumped into action to sew face masks during the pandemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All streaming content is accessible for free and will remain online for three months. The full schedule of programming can be found \u003ca href=\"http://kronosquartet.org/kronos-festival-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind the Kronos Quartet’s gorgeous string arrangements is a deep commitment to creative exploration, cross-cultural collaboration and making music accessible to fans and players alike. That’s why their annual \u003ca href=\"http://kronosquartet.org/kronos-festival-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Festival\u003c/a> tends to feature some of the most exciting contemporary classical music seen in the Bay Area.\u003c/p>\n\u003cp>This year, the festival takes place mostly online June 11–18, with nine events and 14 world premieres of new musical compositions and films. On June 11, Malian singer Hawa Kassé Mady Diabaté premieres her new pice \u003cem>Wawani\u003c/em>, which she performed with her daughter Rokia Kouyaté in a film shot in Mali. Korean composer Soo Yeon Lyuh debuts a piece called \u003cem>Tattoo\u003c/em>, which she wrote after someone fired a gun at her car in Berkeley. And Iranian classical singer Mahsa Vahdat (whose \u003ci>Enlighten the Night\u003c/i> made KQED’s list of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">best Bay Area albums of 2020\u003c/a>) performs \u003cem>Vaya, Vaya\u003c/em>, presented in a film by Laurie Olinder.\u003c/p>\n\u003cp>All these performances screen on opening night, which also features new works by Nicole Lizée, Stacy Garrop, Tadi Todi, Clint Mansell, Jlin, Sam Amidon, Brian Carpenter, Lee Knight and Aoife O’Donovan.\u003c/p>\n\u003cp>Additional virtual concerts with a vast lineup of diverse artists take place on June 13, 16 and 18, and the festival invites fans to gather in person in Golden Gate Park on June 12 for a GPS-guided musical tour. Composed by Ellen Reid and performed by Kronos and others, \u003cem>Soundwalk\u003c/em> can be heard through an app that plays location-specific compositions as the listener makes their way through the landscape.\u003c/p>\n\u003cp>Kronos Festival also includes a program for kids on June 13 and several documentary short film premieres on June 13, 14, 15 and 17, including Valerie Soe’s \u003cem>Radical Care: The Auntie Sewing Squad\u003c/em>, about the people who jumped into action to sew face masks during the pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While primarily known for his work in civil rights and his passion for community service, Dr. Martin Luther King Jr. also had a lesser known passion for jazz music, citing it as the source of “much of the power of our Freedom Movement in the United States.” This MLK holiday weekend, Living Jazz honors the life and legacy of King by bringing together his passions and utilizing music for philanthropy, with a star-studded lineup of artists, musicians, spoken word poets and more in their 19th Annual Musical Tribute “\u003ca href=\"https://www.livingjazz.org/mlktribute\">In The Name of Love\u003c/a>.”\u003c/p>\n\u003cp>Featuring performances by musicians Toshi Reagon and Allison Miller, the Grammy-winning Kronos Quartet, Bay Area-based singer-songwriters Meklit and the Dynamic Miss Faye Carol and others, the evening offers a diverse array of musical talent across the Bay Area.[aside postID='arts_13819256']\u003c/p>\n\u003cp>Just days after delivering remarks at a \u003ca href=\"https://lee.house.gov/news/press-releases/icymi-congresswoman-barbara-lee-delivers-remarks-in-congressional-black-caucus-hearing-on-white-supremacy-at-us-capitol-riots\">Congressional Black Caucus hearing on white supremacy\u003c/a> in light of the January 6 capitol riots, Congresswoman Barbara Lee will present the Oakland Citizen Humanitarian Award to Dr. Noha Aboelata, the founder and CEO of Roots Clinic, an East Oakland-based community health organization focused on ending health disparities. In the past year in particular, Roots’ work has been essential, with an expansion of services that includes free walk-up COVID testing in a neighborhood hit especially hard by the pandemic.\u003c/p>\n\u003cp>In the interest of accessibility, Living Jazz is offering “pay what you can” ticket prices, with all proceeds going to the \u003ca href=\"https://www.livingjazz.org/childrens-project\">Living Jazz Children’s Project\u003c/a>. The Living Jazz Children’s Project (LJCP) reaches 400 second- and third-graders from low-income public elementary schools each year, and has provided virtual classes during the COVID-19 pandemic to support students through the joy of music as they continue online learning. Launched in 2005, LJCP brings a full year of music and performance education to schools with little or no access to the arts, meeting a critical need in a district with pervasive issues of inequity.\u003c/p>\n\u003cp>\u003cem>“In the Name of Love” streams online on Sunday, Jan. 17, from 4pm-6pm. \u003ca href=\"https://www.livingjazz.org/mlktribute\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While primarily known for his work in civil rights and his passion for community service, Dr. Martin Luther King Jr. also had a lesser known passion for jazz music, citing it as the source of “much of the power of our Freedom Movement in the United States.” This MLK holiday weekend, Living Jazz honors the life and legacy of King by bringing together his passions and utilizing music for philanthropy, with a star-studded lineup of artists, musicians, spoken word poets and more in their 19th Annual Musical Tribute “\u003ca href=\"https://www.livingjazz.org/mlktribute\">In The Name of Love\u003c/a>.”\u003c/p>\n\u003cp>Featuring performances by musicians Toshi Reagon and Allison Miller, the Grammy-winning Kronos Quartet, Bay Area-based singer-songwriters Meklit and the Dynamic Miss Faye Carol and others, the evening offers a diverse array of musical talent across the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just days after delivering remarks at a \u003ca href=\"https://lee.house.gov/news/press-releases/icymi-congresswoman-barbara-lee-delivers-remarks-in-congressional-black-caucus-hearing-on-white-supremacy-at-us-capitol-riots\">Congressional Black Caucus hearing on white supremacy\u003c/a> in light of the January 6 capitol riots, Congresswoman Barbara Lee will present the Oakland Citizen Humanitarian Award to Dr. Noha Aboelata, the founder and CEO of Roots Clinic, an East Oakland-based community health organization focused on ending health disparities. In the past year in particular, Roots’ work has been essential, with an expansion of services that includes free walk-up COVID testing in a neighborhood hit especially hard by the pandemic.\u003c/p>\n\u003cp>In the interest of accessibility, Living Jazz is offering “pay what you can” ticket prices, with all proceeds going to the \u003ca href=\"https://www.livingjazz.org/childrens-project\">Living Jazz Children’s Project\u003c/a>. The Living Jazz Children’s Project (LJCP) reaches 400 second- and third-graders from low-income public elementary schools each year, and has provided virtual classes during the COVID-19 pandemic to support students through the joy of music as they continue online learning. Launched in 2005, LJCP brings a full year of music and performance education to schools with little or no access to the arts, meeting a critical need in a district with pervasive issues of inequity.\u003c/p>\n\u003cp>\u003cem>“In the Name of Love” streams online on Sunday, Jan. 17, from 4pm-6pm. \u003ca href=\"https://www.livingjazz.org/mlktribute\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/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\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/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\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.sahbakia.com\">Sahba Aminikia\u003c/a> hadn’t planned on dancing when he stopped by Club Deluxe in the Haight to unwind and hear a little jazz three years ago. But the band was swinging, and before long, he found himself boogieing with a young Italian woman. The Iranian-born composer was in a very good place in his career, teaching at the Academy of Art University while writing music performed by top-flight ensembles around the world, including \u003ca href=\"https://www.youtube.com/watch?v=ksR92_KJaC4\">Kronos Quartet\u003c/a>.\u003c/p>\n\u003cp>During a break in the music, the woman related a fantastical story about an organization teaching circus arts to children who’d fled war and repression in Syria, Iraq and Turkey. Forcefully struck by the unlikely vision, Aminikia set out on a quest that ultimately led him to give up his secure academic day job in San Francisco in order to establish the \u003ca href=\"https://www.mightycause.com/FlyingCarpet2019\">2018 Flying Carpet Festival\u003c/a> in the remote southeastern corner of Turkey.\u003c/p>\n\u003cp>\u003ca href=\"https://muzikhane.org/fcf\">Flying Carpet\u003c/a> returns for its second year Aug. 18-24, and Aminikia isn’t going alone. Drawing on his vast network of friends and colleagues, he’s recruited musicians, composers, and technicians from the Bay Area and far beyond to bring music to children unmoored by some of the world’s most harrowing conflicts.\u003c/p>\n\u003cp>“This young Italian woman started telling me about her sister who was a clown in a refugee camp,” Aminikia recalls. “That wasn’t exactly true. It’s not a refugee camp, but she forwarded me the Instagram account of this NGO called \u003ca href=\"https://heryerdesanat.org\">Sirkhane\u003c/a>, which means ‘House of Circus’ in Turkish and Arabic. I saw this incredible footage of a parade going through the most distant Kurdish villages. It was so mesmerizing and totally out of place, this crazy event happening somewhere where people are dealing with real issues and pain.”\u003c/p>\n\u003cp>Since he was already heading to the region to visit his family for Nowruz (Persian New Year) in March, Aminikia decided to take a detour to Mardin, the ancient town in southeastern Turkey where Sirkhane is based. The situation was tense upon his arrival, with tanks patrolling the streets of a city that was part of the Assyrian Empire in the 14th century BCE. Undaunted by the military presence, children quickly surrounded Aminikia “and every one of them wanted to sing,” he says. “I started to record them, and then I thought, ‘Maybe it’s not a great time for an American citizen to be recording.’ As I was leaving, the children were running after the car, still singing. It wasn’t a choice any more. I wanted to be involved.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=NKF7AF3-QFc\u003c/p>\n\u003cp>Returning to San Francisco, Aminikia left his job at the Academy and put out the word that he was looking for artists to help launch Flying Carpet in September, an absurdly abbreviated schedule for organizing an international arts festival. The plan got a major boost and cash infusion of $100,000 when he won a grant competition from the U.S. Embassy in Ankara, which allowed him to help cover traveling expenses. But it was Aminikia’s guileless wide-eyed pitch, a dream of bringing music to dispossessed kids, that proved most persuasive, says \u003ca href=\"http://www.helennewby.com\">cellist Helen Newby\u003c/a>.\u003c/p>\n\u003cp>A member of the \u003ca href=\"http://www.amaranthquartet.com\">Amaranth Quartet\u003c/a>, Newby got to know Aminikia when hers was one of several groups that performed his music as part of \u003ca href=\"https://kronosquartet.org/kronos-festival-2017\">Kronos Festival 2017: Here and Now\u003c/a>. Dubious about Flying Carpet when he approached her, she agreed to participate but was unsure of whether it would actually come to pass. “Lo and behold, I ended up getting a plane ticket in the mail,” she says. “I went into it not knowing a ton about what was going to happen. I knew it would involve working with kids and some performing, but it was taking a leap a faith. I thought, ‘I’ll regret it if I don’t.’”\u003c/p>\n\u003cp>She spent two weeks in the region, mostly in a village near the border with Syria, working with middle school kids in a choir that Aminikia created. Though there was a translator, the language barrier meant she was “always trying to find activities that didn’t require too much verbal interaction,” she says. “We had an instrument petting zoo. The first week was mostly doing these workshops with the kids, but the second week we were doing a lot more performing and rehearsing, with the occasional surprise concert: ‘By the way, you’re performing tonight for hundreds of people.’”\u003c/p>\n\u003cp>The experience proved impactful: after participating in Flying Carpet last year, Newby is heading back to Turkey again in August. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dGOCeL8uBnw\u003c/p>\n\u003cp>Aminikia’s empathy for displaced children stems partly from his familiarity with unbridled government power. While visiting his family in Iran back in 2012, he was recording sounds for a piece commissioned by Kronos Quartet when three Revolutionary Guards abducted him at gunpoint and accused him of being an American spy. The guards beat him and put a gun in his mouth while forcing him to attest to his Baha’i faith (a religion \u003ca href=\"https://www.hrw.org/news/2018/10/16/iran-arrests-harassment-bahais\">actively repressed\u003c/a> by the Iranian government). Expecting summary execution, Aminikia was instead left on the outskirts of Tehran, stripped of his clothes and his eyes burning with mace.\u003c/p>\n\u003cp>Many of the artists who heeded Aminikia’s call bring their own experiences with dislocation. In the summer of 2017 Yugoslavian-born composer Aleksandra Vrebalov had watched thousands of refugees cross Serbia on their way to Germany. “When you witness it, seeing people sleeping in parks and walking on highways trying to get to a better life, it’s an amazing, painful thing to see,” she says. “I was very motivated to contribute to Flying Carpet.”\u003c/p>\n\u003cp>A world renowned composer with deep ties to the Bay Area, Vrebalov arrived in Mardin with a detailed array of expectations about what she would teach—expectations that she quickly discarded upon taking stock of the bare-bones situation. Traveling to one of three centers run by Sirkhane every day, she learned to adapt to the needs of the children who came to a workshop. The trait they all shared was an overwhelming desire for attention.\u003c/p>\n\u003cp>“When I got there I realized these kids were so energetic and intense,” she says. “They lived through hardships that we only read about, and the amount of energy and kind of connection that they wanted to establish individually with the guest artists was so humbling and moving. You can’t possibly do it. We invented music games where everybody could engage in some communal sense and a lot of energy would be spent. I taught for many years at different levels, and the kind of engagement and creativity that the circumstances demanded, I haven’t had that anywhere else.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XcRBoPANZe8\u003c/p>\n\u003cp>As the open call for artists to participate in this August’s Flying Carpet closes, Aminikia is busy reinventing the festival, looking to make it sustainable. Artists involved this year are paying their own way to Turkey. He’s drawing more on artists who live in the area, so that masters in traditional Kurdish, Turkish and Syrian music are featured in the festival, reflecting back to kids aspects of their own cultures. The festival includes an ensemble from Iran made up of fellow Baha’is “coming by bus 15 hours from Tehran, and first they have to get to Tehran,” he says. There are eight acrobats from Brazil who are fundraising to pay their own way to Turkey, two choreographers from Istanbul and a magician from the U.K. who works in refugee camps.\u003c/p>\n\u003cp>When talking about his vision for the Flying Carpet festival’s future, Aminikia sounds almost blissful to have stepped off the ordained path for a composer.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This place kills your ego,” he says. “You see the actual needs of people who are hungry and in need of education. You start analyzing yourself about your expectations. Artists in the West don’t feel appreciated and useful. But in many ways this is a very American idea. Mardin is a house on the hill. And we’re determined to build something that will last.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sahbakia.com\">Sahba Aminikia\u003c/a> hadn’t planned on dancing when he stopped by Club Deluxe in the Haight to unwind and hear a little jazz three years ago. But the band was swinging, and before long, he found himself boogieing with a young Italian woman. The Iranian-born composer was in a very good place in his career, teaching at the Academy of Art University while writing music performed by top-flight ensembles around the world, including \u003ca href=\"https://www.youtube.com/watch?v=ksR92_KJaC4\">Kronos Quartet\u003c/a>.\u003c/p>\n\u003cp>During a break in the music, the woman related a fantastical story about an organization teaching circus arts to children who’d fled war and repression in Syria, Iraq and Turkey. Forcefully struck by the unlikely vision, Aminikia set out on a quest that ultimately led him to give up his secure academic day job in San Francisco in order to establish the \u003ca href=\"https://www.mightycause.com/FlyingCarpet2019\">2018 Flying Carpet Festival\u003c/a> in the remote southeastern corner of Turkey.\u003c/p>\n\u003cp>\u003ca href=\"https://muzikhane.org/fcf\">Flying Carpet\u003c/a> returns for its second year Aug. 18-24, and Aminikia isn’t going alone. Drawing on his vast network of friends and colleagues, he’s recruited musicians, composers, and technicians from the Bay Area and far beyond to bring music to children unmoored by some of the world’s most harrowing conflicts.\u003c/p>\n\u003cp>“This young Italian woman started telling me about her sister who was a clown in a refugee camp,” Aminikia recalls. “That wasn’t exactly true. It’s not a refugee camp, but she forwarded me the Instagram account of this NGO called \u003ca href=\"https://heryerdesanat.org\">Sirkhane\u003c/a>, which means ‘House of Circus’ in Turkish and Arabic. I saw this incredible footage of a parade going through the most distant Kurdish villages. It was so mesmerizing and totally out of place, this crazy event happening somewhere where people are dealing with real issues and pain.”\u003c/p>\n\u003cp>Since he was already heading to the region to visit his family for Nowruz (Persian New Year) in March, Aminikia decided to take a detour to Mardin, the ancient town in southeastern Turkey where Sirkhane is based. The situation was tense upon his arrival, with tanks patrolling the streets of a city that was part of the Assyrian Empire in the 14th century BCE. Undaunted by the military presence, children quickly surrounded Aminikia “and every one of them wanted to sing,” he says. “I started to record them, and then I thought, ‘Maybe it’s not a great time for an American citizen to be recording.’ As I was leaving, the children were running after the car, still singing. It wasn’t a choice any more. I wanted to be involved.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NKF7AF3-QFc'\n title='//www.youtube.com/embed/NKF7AF3-QFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Returning to San Francisco, Aminikia left his job at the Academy and put out the word that he was looking for artists to help launch Flying Carpet in September, an absurdly abbreviated schedule for organizing an international arts festival. The plan got a major boost and cash infusion of $100,000 when he won a grant competition from the U.S. Embassy in Ankara, which allowed him to help cover traveling expenses. But it was Aminikia’s guileless wide-eyed pitch, a dream of bringing music to dispossessed kids, that proved most persuasive, says \u003ca href=\"http://www.helennewby.com\">cellist Helen Newby\u003c/a>.\u003c/p>\n\u003cp>A member of the \u003ca href=\"http://www.amaranthquartet.com\">Amaranth Quartet\u003c/a>, Newby got to know Aminikia when hers was one of several groups that performed his music as part of \u003ca href=\"https://kronosquartet.org/kronos-festival-2017\">Kronos Festival 2017: Here and Now\u003c/a>. Dubious about Flying Carpet when he approached her, she agreed to participate but was unsure of whether it would actually come to pass. “Lo and behold, I ended up getting a plane ticket in the mail,” she says. “I went into it not knowing a ton about what was going to happen. I knew it would involve working with kids and some performing, but it was taking a leap a faith. I thought, ‘I’ll regret it if I don’t.’”\u003c/p>\n\u003cp>She spent two weeks in the region, mostly in a village near the border with Syria, working with middle school kids in a choir that Aminikia created. Though there was a translator, the language barrier meant she was “always trying to find activities that didn’t require too much verbal interaction,” she says. “We had an instrument petting zoo. The first week was mostly doing these workshops with the kids, but the second week we were doing a lot more performing and rehearsing, with the occasional surprise concert: ‘By the way, you’re performing tonight for hundreds of people.’”\u003c/p>\n\u003cp>The experience proved impactful: after participating in Flying Carpet last year, Newby is heading back to Turkey again in August. \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/dGOCeL8uBnw'\n title='//www.youtube.com/embed/dGOCeL8uBnw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aminikia’s empathy for displaced children stems partly from his familiarity with unbridled government power. While visiting his family in Iran back in 2012, he was recording sounds for a piece commissioned by Kronos Quartet when three Revolutionary Guards abducted him at gunpoint and accused him of being an American spy. The guards beat him and put a gun in his mouth while forcing him to attest to his Baha’i faith (a religion \u003ca href=\"https://www.hrw.org/news/2018/10/16/iran-arrests-harassment-bahais\">actively repressed\u003c/a> by the Iranian government). Expecting summary execution, Aminikia was instead left on the outskirts of Tehran, stripped of his clothes and his eyes burning with mace.\u003c/p>\n\u003cp>Many of the artists who heeded Aminikia’s call bring their own experiences with dislocation. In the summer of 2017 Yugoslavian-born composer Aleksandra Vrebalov had watched thousands of refugees cross Serbia on their way to Germany. “When you witness it, seeing people sleeping in parks and walking on highways trying to get to a better life, it’s an amazing, painful thing to see,” she says. “I was very motivated to contribute to Flying Carpet.”\u003c/p>\n\u003cp>A world renowned composer with deep ties to the Bay Area, Vrebalov arrived in Mardin with a detailed array of expectations about what she would teach—expectations that she quickly discarded upon taking stock of the bare-bones situation. Traveling to one of three centers run by Sirkhane every day, she learned to adapt to the needs of the children who came to a workshop. The trait they all shared was an overwhelming desire for attention.\u003c/p>\n\u003cp>“When I got there I realized these kids were so energetic and intense,” she says. “They lived through hardships that we only read about, and the amount of energy and kind of connection that they wanted to establish individually with the guest artists was so humbling and moving. You can’t possibly do it. We invented music games where everybody could engage in some communal sense and a lot of energy would be spent. I taught for many years at different levels, and the kind of engagement and creativity that the circumstances demanded, I haven’t had that anywhere else.”\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/XcRBoPANZe8'\n title='//www.youtube.com/embed/XcRBoPANZe8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the open call for artists to participate in this August’s Flying Carpet closes, Aminikia is busy reinventing the festival, looking to make it sustainable. Artists involved this year are paying their own way to Turkey. He’s drawing more on artists who live in the area, so that masters in traditional Kurdish, Turkish and Syrian music are featured in the festival, reflecting back to kids aspects of their own cultures. The festival includes an ensemble from Iran made up of fellow Baha’is “coming by bus 15 hours from Tehran, and first they have to get to Tehran,” he says. There are eight acrobats from Brazil who are fundraising to pay their own way to Turkey, two choreographers from Istanbul and a magician from the U.K. who works in refugee camps.\u003c/p>\n\u003cp>When talking about his vision for the Flying Carpet festival’s future, Aminikia sounds almost blissful to have stepped off the ordained path for a composer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This place kills your ego,” he says. “You see the actual needs of people who are hungry and in need of education. You start analyzing yourself about your expectations. Artists in the West don’t feel appreciated and useful. But in many ways this is a very American idea. Mardin is a house on the hill. And we’re determined to build something that will last.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "musical-fusion-for-modern-ears-in-van-anh-vos-3l-love-life-loss",
"title": "Musical Fusion for Modern Ears in Vân-Ánh Võ's '3L: Love, Life, Loss'",
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"content": "\u003cp>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>started studying music in Vietnam at the age of four. She trained with six different musical masters. “We have 54 different ethnic groups in Vietnam, and we have so many different genres! But regardless of what regions they come from, they shared the same thing: the same quality of belief. Music doesn’t have borders. Culture doesn’t have borders.”\u003c/p>\n\u003cp>Võ lives in Fremont now with her husband and children, and her work here as a musician and composer resonates with U.S. audiences. She’s won an Emmy, collaborated with the \u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, and played at top venues like the Kennedy Center in Washington D.C. She’s even played a \u003ca href=\"https://www.npr.org/2014/01/04/259390015/van-anh-vanessa-vo-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert\u003c/a> for NPR. (At 6:30 in, listen to her witty take on Erik Satie’s Gnossienne No. 3, performed on the \u003cem>dan Bau\u003c/em>.)\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8y02Rv8sQzw]\u003c/p>\n\u003cp>So it was the South Bay non-profit \u003ca href=\"https://sangamarts.org\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> commissioned Võ to writing something new blending the Vietnamese, Chicano and African-American cultural traditions of the Santa Clara Valley.\u003c/p>\n\u003cp>Võ started as she typically does, by interviewing people to hear their life stories. “To share the voices of immigrants, the strength that immigrants bring to this country,\u003cspan class=\"Apple-converted-space\"> \u003c/span>the ways that our immigrants built this country, right? Altogether,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The national conversation around immigration is toxic these days — even as, here in the Bay Area, we live alongside multiple cultures, many of which blend in remarkably harmonious ways.\u003cspan class=\"Apple-converted-space\"> “In a time like this, it’s important that we have more music, more stories to share, to connect everyone together,” Võ said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860082\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860082 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg\" alt=\"From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh).\" width=\"2048\" height=\"1141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-800x446.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-768x428.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1020x568.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1200x669.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1920x1070.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh). \u003ccite>(Courtesy of Sangam Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how to communicate that idea musically without it sounding awkward, or forced? This is where you find Võ in her element as a border crossing artist.\u003c/span>\u003c/p>\n\u003cp>For instance, in her research for \u003cspan style=\"font-weight: 400\">\u003cem>3L: Love, Life, Loss, \u003c/em>\u003c/span>she discovered two traditional spiritual songs: \u003cem>Cô Côi Thượng Ngàn\u003c/em> from Vietnam, and \u003cem>Viene La Muerte Echando Rasero\u003c/em> from Mexico. Both reflect on mortality, but also resonate musically.\u003c/p>\n\u003cp>“They both start out with the major key, and then they both change into minor key when the song go into the body of it, and then they both end the phrase with the same chord structure and start the phrase with the same chord structure! They are very different in rhythm, but they actually work side by side. Isn’t that amazing?” \u003cspan style=\"font-weight: 400\">Võ said with infectious enthusiasm.\u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_11260223,arts_13850950,arts_13837387' label='Related Coverage']Sure enough, when you hear \u003cem>Queen of the Night\u003c/em>, the second movement of \u003ci>3L: Love, Life, Los, \u003c/i>her argument is readily apparent. It is a natural fit.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> In \u003cem>3L: Love, Life, Loss,\u003c/em> Võ’s ensemble includes musicians who specialize in Japanese taiko drumming, marimba, and cello, among other things. She employs traditional Vietnamese instruments to make sounds and melodies that delight modern ears. In a similar fashion, Võ pulls forward bouncy rhythms to make heady spiritual themes accessible. \u003c/span>\u003c/p>\n\u003cp>It’s a talent she demonstrates on most of the projects she works on, like \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite about the terrors the boat people faced.\u003c/p>\n\u003cp>Võ explains she only engages in work that feel personally meaningful for her. “My work has to have a message. It has to have something for people to go home and talk about.” \u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>3L: Love, Loss, Life\u003c/strong> runs June 22, 2019 at Sunnyvale Theater in Sunnyvale. For more information, click \u003cstrong>\u003ca href=\"https://www.tikkl.com/sangamarts/c/3L\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The latest multi-cultural exploration from Sangam Arts features Fremont musician and composer Vân-Ánh Võ. ",
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"title": "Musical Fusion for Modern Ears in Vân-Ánh Võ's '3L: Love, Life, Loss' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>started studying music in Vietnam at the age of four. She trained with six different musical masters. “We have 54 different ethnic groups in Vietnam, and we have so many different genres! But regardless of what regions they come from, they shared the same thing: the same quality of belief. Music doesn’t have borders. Culture doesn’t have borders.”\u003c/p>\n\u003cp>Võ lives in Fremont now with her husband and children, and her work here as a musician and composer resonates with U.S. audiences. She’s won an Emmy, collaborated with the \u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, and played at top venues like the Kennedy Center in Washington D.C. She’s even played a \u003ca href=\"https://www.npr.org/2014/01/04/259390015/van-anh-vanessa-vo-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert\u003c/a> for NPR. (At 6:30 in, listen to her witty take on Erik Satie’s Gnossienne No. 3, performed on the \u003cem>dan Bau\u003c/em>.)\u003c/p>\n\u003cp>\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/8y02Rv8sQzw'\n title='//www.youtube.com/embed/8y02Rv8sQzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So it was the South Bay non-profit \u003ca href=\"https://sangamarts.org\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> commissioned Võ to writing something new blending the Vietnamese, Chicano and African-American cultural traditions of the Santa Clara Valley.\u003c/p>\n\u003cp>Võ started as she typically does, by interviewing people to hear their life stories. “To share the voices of immigrants, the strength that immigrants bring to this country,\u003cspan class=\"Apple-converted-space\"> \u003c/span>the ways that our immigrants built this country, right? Altogether,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The national conversation around immigration is toxic these days — even as, here in the Bay Area, we live alongside multiple cultures, many of which blend in remarkably harmonious ways.\u003cspan class=\"Apple-converted-space\"> “In a time like this, it’s important that we have more music, more stories to share, to connect everyone together,” Võ said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860082\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860082 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg\" alt=\"From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh).\" width=\"2048\" height=\"1141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-800x446.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-768x428.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1020x568.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1200x669.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1920x1070.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh). \u003ccite>(Courtesy of Sangam Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how to communicate that idea musically without it sounding awkward, or forced? This is where you find Võ in her element as a border crossing artist.\u003c/span>\u003c/p>\n\u003cp>For instance, in her research for \u003cspan style=\"font-weight: 400\">\u003cem>3L: Love, Life, Loss, \u003c/em>\u003c/span>she discovered two traditional spiritual songs: \u003cem>Cô Côi Thượng Ngàn\u003c/em> from Vietnam, and \u003cem>Viene La Muerte Echando Rasero\u003c/em> from Mexico. Both reflect on mortality, but also resonate musically.\u003c/p>\n\u003cp>“They both start out with the major key, and then they both change into minor key when the song go into the body of it, and then they both end the phrase with the same chord structure and start the phrase with the same chord structure! They are very different in rhythm, but they actually work side by side. Isn’t that amazing?” \u003cspan style=\"font-weight: 400\">Võ said with infectious enthusiasm.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sure enough, when you hear \u003cem>Queen of the Night\u003c/em>, the second movement of \u003ci>3L: Love, Life, Los, \u003c/i>her argument is readily apparent. It is a natural fit.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> In \u003cem>3L: Love, Life, Loss,\u003c/em> Võ’s ensemble includes musicians who specialize in Japanese taiko drumming, marimba, and cello, among other things. She employs traditional Vietnamese instruments to make sounds and melodies that delight modern ears. In a similar fashion, Võ pulls forward bouncy rhythms to make heady spiritual themes accessible. \u003c/span>\u003c/p>\n\u003cp>It’s a talent she demonstrates on most of the projects she works on, like \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite about the terrors the boat people faced.\u003c/p>\n\u003cp>Võ explains she only engages in work that feel personally meaningful for her. “My work has to have a message. It has to have something for people to go home and talk about.” \u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>3L: Love, Loss, Life\u003c/strong> runs June 22, 2019 at Sunnyvale Theater in Sunnyvale. For more information, click \u003cstrong>\u003ca href=\"https://www.tikkl.com/sangamarts/c/3L\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "trumps-extreme-vetting-hurts-the-arts-discourages-cultural-exchange-experts-say",
"title": "Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say",
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"content": "\u003cp>Last month, the members of Kronos Quartet found themselves scrambling to change their festival’s itinerary after a headliner’s visa was unexpectedly delayed.\u003c/p>\n\u003cp>For their annual Kronos Festival, the string ensemble was set to premiere \u003cem>Tegere Tulon\u003c/em>, a new work they commissioned from Malian composer Hawa Kassé Mady Diabaté. Diabaté had been approved to come to the United States to perform and record in previous years, and Kronos Quartet expected her smooth arrival in San Francisco to premiere the piece at SFJAZZ on June 1.\u003c/p>\n\u003cp>But on May 22, State Department officials unexpectedly summoned Diabaté for additional questioning at the U.S. embassy in Bamako, Mali. She was asked to fill out a DS-5535, a form known to delay applications indefinitely. She had to miss the concert even though Kronos Quartet already paid for her travel and marketed the event using her name.\u003c/p>\n\u003cp>https://youtu.be/IzeVKYTMqww\u003c/p>\n\u003cp>Arts presenters and legal experts say delays in artist visas are becoming more common under the Trump administration’s “\u003ca href=\"https://www.cbsnews.com/news/what-is-extreme-vetting/\" target=\"_blank\" rel=\"noopener\">extreme vetting\u003c/a>” policies, which they argue hurt the performing arts and have chilling consequences for free speech. Indeed, the administration now requires nearly all visa applicants to answer detailed \u003ca href=\"https://www.cbsnews.com/news/state-department-now-requires-us-visa-applicants-to-share-social-media-accounts-2019-06-01/\" target=\"_blank\" rel=\"noopener\">questions about their social media activity\u003c/a>, raising alarms among the \u003ca href=\"https://www.aclu.org/press-releases/aclu-comment-state-department-notices-requiring-social-media-information-visa\" target=\"_blank\" rel=\"noopener\">ACLU\u003c/a> and other advocacy groups, who say these questions cause visa applicants to censor their online speech out of fear. Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The worry is that promoters, presenters and festival organizers will be worried about this happening and therefore will decide not to engage with certain kinds of artists,” says Janet Cowperthwaite, managing director of the Kronos Performing Arts Association. “There’s a whole domino effect that can take place, really upsetting the ecosystem of our field.”\u003c/p>\n\u003ch2>Artists from the Global South hit with delays\u003c/h2>\n\u003cp>Musician and lawyer \u003ca href=\"https://www.covey.law/matthew-covey/\" target=\"_blank\" rel=\"noopener\">Matthew Covey\u003c/a>, whose firm represents at least 4,000 international artists a year, including Diabaté, says that visa delays like the one Diabaté experienced have become more frequent over the last six months as State Department officials ramp up the use of the DS-5535 form for artists from African nations President Trump once derided as “shithole countries.”\u003c/p>\n\u003cp>[pullquote size='large']Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.[/pullquote]\u003c/p>\n\u003cp>Typically, Covey says, the application for an O or P visa for visiting entertainers, athletes and scholars takes several weeks to get approved by U.S. Citizenship and Immigration Services and the State Department. But because it’s difficult to predict whether an artist will be asked to fill out a DS-5535 form, arts presenters have been running into unexpected visa delays that set off a chain reaction of lost revenue. When a show is abruptly canceled due to a visa delay, the concert presenter loses the money they invested in the artist’s visa application, legal fees and travel. The venue often sits empty, losing money from refunded concert tickets, with no ability to book another act to fill seats at short notice.\u003c/p>\n\u003cp>“When you see consistently artists from the Global South, the Middle East, from Latin America, from Africa are the ones who are principally running into these problems, the easiest way for arts presenters to minimize that risk is to not book artists from those parts of the world,” says Covey. “While it’s understandable, I think it’s tragic, because these are exactly the voices we need to be hearing in America culturally right now.”\u003c/p>\n\u003cfigure id=\"attachment_13860005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trio-da-kali-800x660.jpg\" alt=\"Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration's "extreme vetting" policy.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-768x634.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration’s “extreme vetting” policy. \u003ccite>(Courtesy of Trio Da Kali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Covey says that the U.S. government’s two main concerns in implementing the DS-5535—screening people who are likely to pose a security risk or overstay their visas and immigrate to the U.S. illegally—are often enforced in racially biased ways.\u003c/p>\n\u003cp>“It’s racism, and it’s economics, and it’s demographics,” says Covey, adding that artists from Africa and Latin America are seen as likelier to immigrate illegally, and Middle Eastern artists are stereotyped as potential terrorists. “The overlap of those Venn diagrams is enormous, and that’s why it’s hard to unravel this problem.”\u003c/p>\n\u003cp>State Department officials, however, contend that they implement the DS-5535 form on a case-by-case basis due to a variety of factors, not just an artist’s country of origin. “Many factors can trigger the need for additional processing, including when concerns are raised after the applicant’s biographic or biometric information is processed through national security screening tools, consular screening tools, or at the discretion of the interviewing officer,” a State Department offical told KQED via email.\u003c/p>\n\u003ch2>Seemingly arbitrary visa denials\u003c/h2>\n\u003cp>Covey says his clients, the Tanzanian electronic musicians \u003ca href=\"https://nyegenyegetapes.bandcamp.com/album/uingizaji-hewa\" target=\"_blank\" rel=\"noopener\">Duke\u003c/a> and MCZO, were denied artist visas in May because couldn’t sufficiently prove that they weren’t planning to immigrate to the United States illegally. Covey argues that Duke and MCZO have no incentive to immigrate: the two run a record label in their home country, where they regularly sell out stadium shows and have a much larger following than they do in the United States.\u003c/p>\n\u003cp>“In the end, NOTHING could prove that we did not intend to run away illegally once checked in at our Holiday Inn,” the artists wrote at the time in a \u003ca href=\"https://www.facebook.com/NyegeNyegeFestival/posts/2354051684616689?__tn__=K-R\" target=\"_blank\" rel=\"noopener\">statement on Facebook\u003c/a>. [aside postid='arts_13859890']\u003c/p>\n\u003cp>“The scenario has really changed in the past year. Things that were completely predictable, would routinely be approved, are now being called into question for reasons that—to me—are apparent and not necessarily written into law,” says talent booker Bill Smith of \u003ca href=\"http://www.riotartists.com/\" target=\"_blank\" rel=\"noopener\">Riot Artists\u003c/a>, who has been putting on U.S. tours for international artists for over 20 years. “Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.billmartinez.com/\" target=\"_blank\" rel=\"noopener\">Bill Martinez\u003c/a>, a concert presenter and lawyer representing international artists, says that he has encountered visa issues with recent clients of his, including the Indian dance troupe \u003ca href=\"https://www.snda.in\" target=\"_blank\" rel=\"noopener\">Sumeet Nagdev Dance Arts\u003c/a>. Martinez says the U.S. government denied their visa because it determined that the dancers did not have enough money to support themselves during a short trip to Seattle. However, Martinez submitted evidence that the event presenter planned to pay for travel, room and board; a “per diem” allowance for food and expenses; plus an honorarium to compensate for the performance.\u003c/p>\n\u003cp>https://youtu.be/mH0Xfmotbfg\u003c/p>\n\u003cp>“It doesn’t make sense,” says Martinez. “But it’s exactly the frustrating reality we’re coping with. It causes consternation, doubts among the presenters who lose money doing the filings [for the artists’ visa applications].”\u003c/p>\n\u003cp>Still, despite recent difficulties in obtaining artist visas, some arts presenters aren’t deterred. SFJAZZ founder and executive artistic director Randall Kline says he’s determined to continue booking international artists from Africa and Latin America in particular as part of his organization’s mission to promote music from the African diaspora. He says the process has always been difficult during his 30 years as a concert presenter.\u003c/p>\n\u003cp>“The United States has never been easy with work visas for artists. While the climate is difficult now, it’s never been easy,” he says, adding that arts presenters must now allow for much more lead time when booking a concert to accommodate surprise visa delays. “It isn’t the plague descending on us right now.”\u003c/p>\n\u003ch2>‘Chilling’ consequences for free speech\u003c/h2>\n\u003cp>Arts presenters and legal experts also raise red flags about the addition of extensive questions about visiting artists’ (and scholars and athletes’) social media presence on visa applications. While State Department officials say that the U.S. government doesn’t deny visas based on political beliefs, critics argue that these questions can encourage self-censorship because of fear that what someone posts online can affect their application. [aside postid='arts_13859688']\u003c/p>\n\u003cp>“We’re not discounting the need for security, but that need needs to be balanced with freedom to express our thoughts, including criticism of the government,” says Martinez.\u003c/p>\n\u003cp>However, the State Department maintains that it’s not denying visas based on political beliefs. “Consular officers cannot deny visas based on applicants’ race, religion, ethnicity, national origin, political views, gender, or sexual orientation,” an official wrote via email. “The collection of social media identifiers is consistent with this.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Bill Smith, talent booker at Riot Artists']\u003c/span>“Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”[/pullquote]\u003c/p>\n\u003cp>“Regardless of whether, when looking at social media, they make decisions based on what they see there, it clearly has to have a kind of chilling effect on freedom of expression by any artist planning to come to the U.S.,” says Covey. “Even if I’m a Norwegian opera singer, I’m going to think twice before going on my Facebook account and saying what I think about climate change because I don’t want to screw up my tour.”\u003c/p>\n\u003cp>He and other experts say that the U.S. government’s visa policies prevent cultural exchange, fueling the country’s xenophobic climate amid an anti-immigrant administration. “Nothing benefits from shutting doors,” says Martinez. “If you don’t have communication—which culture is—you don’t have these cultural exchanges, there is no hope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article incorrectly stated that the application for an O or P visa for visiting entertainers, athletes and scholars takes a week to ten days to get approved by U.S. Citizenship and Immigration Services and the State Department. In fact, it takes several weeks. \u003c/em>\u003c/p>\n\n",
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"title": "Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, the members of Kronos Quartet found themselves scrambling to change their festival’s itinerary after a headliner’s visa was unexpectedly delayed.\u003c/p>\n\u003cp>For their annual Kronos Festival, the string ensemble was set to premiere \u003cem>Tegere Tulon\u003c/em>, a new work they commissioned from Malian composer Hawa Kassé Mady Diabaté. Diabaté had been approved to come to the United States to perform and record in previous years, and Kronos Quartet expected her smooth arrival in San Francisco to premiere the piece at SFJAZZ on June 1.\u003c/p>\n\u003cp>But on May 22, State Department officials unexpectedly summoned Diabaté for additional questioning at the U.S. embassy in Bamako, Mali. She was asked to fill out a DS-5535, a form known to delay applications indefinitely. She had to miss the concert even though Kronos Quartet already paid for her travel and marketed the event using her name.\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/IzeVKYTMqww'\n title='//www.youtube.com/embed/IzeVKYTMqww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arts presenters and legal experts say delays in artist visas are becoming more common under the Trump administration’s “\u003ca href=\"https://www.cbsnews.com/news/what-is-extreme-vetting/\" target=\"_blank\" rel=\"noopener\">extreme vetting\u003c/a>” policies, which they argue hurt the performing arts and have chilling consequences for free speech. Indeed, the administration now requires nearly all visa applicants to answer detailed \u003ca href=\"https://www.cbsnews.com/news/state-department-now-requires-us-visa-applicants-to-share-social-media-accounts-2019-06-01/\" target=\"_blank\" rel=\"noopener\">questions about their social media activity\u003c/a>, raising alarms among the \u003ca href=\"https://www.aclu.org/press-releases/aclu-comment-state-department-notices-requiring-social-media-information-visa\" target=\"_blank\" rel=\"noopener\">ACLU\u003c/a> and other advocacy groups, who say these questions cause visa applicants to censor their online speech out of fear. Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The worry is that promoters, presenters and festival organizers will be worried about this happening and therefore will decide not to engage with certain kinds of artists,” says Janet Cowperthwaite, managing director of the Kronos Performing Arts Association. “There’s a whole domino effect that can take place, really upsetting the ecosystem of our field.”\u003c/p>\n\u003ch2>Artists from the Global South hit with delays\u003c/h2>\n\u003cp>Musician and lawyer \u003ca href=\"https://www.covey.law/matthew-covey/\" target=\"_blank\" rel=\"noopener\">Matthew Covey\u003c/a>, whose firm represents at least 4,000 international artists a year, including Diabaté, says that visa delays like the one Diabaté experienced have become more frequent over the last six months as State Department officials ramp up the use of the DS-5535 form for artists from African nations President Trump once derided as “shithole countries.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "Lawyers and talent bookers say the visa application process for international artists is opaque, arbitrary and inconsistent, and discourages much-needed cultural exchange at a time of anti-immigrant sentiment in the United States.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Typically, Covey says, the application for an O or P visa for visiting entertainers, athletes and scholars takes several weeks to get approved by U.S. Citizenship and Immigration Services and the State Department. But because it’s difficult to predict whether an artist will be asked to fill out a DS-5535 form, arts presenters have been running into unexpected visa delays that set off a chain reaction of lost revenue. When a show is abruptly canceled due to a visa delay, the concert presenter loses the money they invested in the artist’s visa application, legal fees and travel. The venue often sits empty, losing money from refunded concert tickets, with no ability to book another act to fill seats at short notice.\u003c/p>\n\u003cp>“When you see consistently artists from the Global South, the Middle East, from Latin America, from Africa are the ones who are principally running into these problems, the easiest way for arts presenters to minimize that risk is to not book artists from those parts of the world,” says Covey. “While it’s understandable, I think it’s tragic, because these are exactly the voices we need to be hearing in America culturally right now.”\u003c/p>\n\u003cfigure id=\"attachment_13860005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/trio-da-kali-800x660.jpg\" alt=\"Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration's "extreme vetting" policy.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/trio-da-kali-768x634.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hawa Kasse Mady Diabate (left) of Trio Da Kali missed her June 1 performance with the Kronos Quartet due to an unexpected visa delay. Arts presenters say these are becoming more common under the Trump administration’s “extreme vetting” policy. \u003ccite>(Courtesy of Trio Da Kali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Covey says that the U.S. government’s two main concerns in implementing the DS-5535—screening people who are likely to pose a security risk or overstay their visas and immigrate to the U.S. illegally—are often enforced in racially biased ways.\u003c/p>\n\u003cp>“It’s racism, and it’s economics, and it’s demographics,” says Covey, adding that artists from Africa and Latin America are seen as likelier to immigrate illegally, and Middle Eastern artists are stereotyped as potential terrorists. “The overlap of those Venn diagrams is enormous, and that’s why it’s hard to unravel this problem.”\u003c/p>\n\u003cp>State Department officials, however, contend that they implement the DS-5535 form on a case-by-case basis due to a variety of factors, not just an artist’s country of origin. “Many factors can trigger the need for additional processing, including when concerns are raised after the applicant’s biographic or biometric information is processed through national security screening tools, consular screening tools, or at the discretion of the interviewing officer,” a State Department offical told KQED via email.\u003c/p>\n\u003ch2>Seemingly arbitrary visa denials\u003c/h2>\n\u003cp>Covey says his clients, the Tanzanian electronic musicians \u003ca href=\"https://nyegenyegetapes.bandcamp.com/album/uingizaji-hewa\" target=\"_blank\" rel=\"noopener\">Duke\u003c/a> and MCZO, were denied artist visas in May because couldn’t sufficiently prove that they weren’t planning to immigrate to the United States illegally. Covey argues that Duke and MCZO have no incentive to immigrate: the two run a record label in their home country, where they regularly sell out stadium shows and have a much larger following than they do in the United States.\u003c/p>\n\u003cp>“In the end, NOTHING could prove that we did not intend to run away illegally once checked in at our Holiday Inn,” the artists wrote at the time in a \u003ca href=\"https://www.facebook.com/NyegeNyegeFestival/posts/2354051684616689?__tn__=K-R\" target=\"_blank\" rel=\"noopener\">statement on Facebook\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The scenario has really changed in the past year. Things that were completely predictable, would routinely be approved, are now being called into question for reasons that—to me—are apparent and not necessarily written into law,” says talent booker Bill Smith of \u003ca href=\"http://www.riotartists.com/\" target=\"_blank\" rel=\"noopener\">Riot Artists\u003c/a>, who has been putting on U.S. tours for international artists for over 20 years. “Certainly people with Arabic names are unduly singled out—and frankly, they’re not necessarily applying the law. I think they’re applying the unspoken will of the administration.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.billmartinez.com/\" target=\"_blank\" rel=\"noopener\">Bill Martinez\u003c/a>, a concert presenter and lawyer representing international artists, says that he has encountered visa issues with recent clients of his, including the Indian dance troupe \u003ca href=\"https://www.snda.in\" target=\"_blank\" rel=\"noopener\">Sumeet Nagdev Dance Arts\u003c/a>. Martinez says the U.S. government denied their visa because it determined that the dancers did not have enough money to support themselves during a short trip to Seattle. However, Martinez submitted evidence that the event presenter planned to pay for travel, room and board; a “per diem” allowance for food and expenses; plus an honorarium to compensate for the performance.\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/mH0Xfmotbfg'\n title='//www.youtube.com/embed/mH0Xfmotbfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It doesn’t make sense,” says Martinez. “But it’s exactly the frustrating reality we’re coping with. It causes consternation, doubts among the presenters who lose money doing the filings [for the artists’ visa applications].”\u003c/p>\n\u003cp>Still, despite recent difficulties in obtaining artist visas, some arts presenters aren’t deterred. SFJAZZ founder and executive artistic director Randall Kline says he’s determined to continue booking international artists from Africa and Latin America in particular as part of his organization’s mission to promote music from the African diaspora. He says the process has always been difficult during his 30 years as a concert presenter.\u003c/p>\n\u003cp>“The United States has never been easy with work visas for artists. While the climate is difficult now, it’s never been easy,” he says, adding that arts presenters must now allow for much more lead time when booking a concert to accommodate surprise visa delays. “It isn’t the plague descending on us right now.”\u003c/p>\n\u003ch2>‘Chilling’ consequences for free speech\u003c/h2>\n\u003cp>Arts presenters and legal experts also raise red flags about the addition of extensive questions about visiting artists’ (and scholars and athletes’) social media presence on visa applications. While State Department officials say that the U.S. government doesn’t deny visas based on political beliefs, critics argue that these questions can encourage self-censorship because of fear that what someone posts online can affect their application. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re not discounting the need for security, but that need needs to be balanced with freedom to express our thoughts, including criticism of the government,” says Martinez.\u003c/p>\n\u003cp>However, the State Department maintains that it’s not denying visas based on political beliefs. “Consular officers cannot deny visas based on applicants’ race, religion, ethnicity, national origin, political views, gender, or sexual orientation,” an official wrote via email. “The collection of social media identifiers is consistent with this.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Regardless of whether, when looking at social media, they make decisions based on what they see there, it clearly has to have a kind of chilling effect on freedom of expression by any artist planning to come to the U.S.,” says Covey. “Even if I’m a Norwegian opera singer, I’m going to think twice before going on my Facebook account and saying what I think about climate change because I don’t want to screw up my tour.”\u003c/p>\n\u003cp>He and other experts say that the U.S. government’s visa policies prevent cultural exchange, fueling the country’s xenophobic climate amid an anti-immigrant administration. “Nothing benefits from shutting doors,” says Martinez. “If you don’t have communication—which culture is—you don’t have these cultural exchanges, there is no hope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article incorrectly stated that the application for an O or P visa for visiting entertainers, athletes and scholars takes a week to ten days to get approved by U.S. Citizenship and Immigration Services and the State Department. In fact, it takes several weeks. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "An Insider’s Guide to San Francisco’s Most Adventurous Classical Music Fest | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Update, May 30:\u003c/strong> Kronos Performing Arts Association (KPAA) announced that Hawa Kassé Mady Diabaté canceled her appearance at Kronos Festival due to visa delays. According to KPAA, the United States embassy in Mali subjected her to the Trump administration’s “extreme vetting” procedure that will delay her visa indefinitely. San Francisco Girls Chorus and Valerie Sainte-Agathe will still perform her piece, Tegere Tulon, on June 1.\u003c/em>\u003c/p>\n\u003cp>\u003cem>“It is deeply upsetting that such an amazing vocalist would be prevented from sharing her unique artistry here,” said KPAA Managing Director Janet Cowperthwaite. “What a missed opportunity for Kronos, the San Francisco Girls Chorus, and our audiences.”\u003c/em>\u003c/p>\n\u003cp>When it comes to collaboration, the members of Kronos Quartet don’t seem too concerned with a musician’s genre—or age, or language or musical instrument, for that matter. Instead, the contemporary-classical powerhouse tends to tap people whose work is emotionally moving, intellectually stimulating and technically impressive as hell.\u003c/p>\n\u003cp>To give one example: last year, at the quartet’s annual festival at SFJAZZ, Kronos’ delicate string playing accompanied a surrealist, sorrowful sailor song by freak-folk duo \u003ca href=\"https://www.cocorosiemusic.com/\" target=\"_blank\" rel=\"noopener\">CocoRosie\u003c/a>. As CocoRosie’s operatic vocals swelled, the quartet’s bows went flying as they shredded on their violins, cello and viola. Soon, tabla master \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a> joined in, beating a pitter-patter rhythm on his drums with the intuitive touch of a reiki healer. The musicians locked in step with the agility of the Warriors’ starting squad, and the whole performance vibrated toward an epic crescendo, leaving the audience with their jaws on the floor.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size='medium' align='right'] The music may be all over the map, but Kronos Quartet’s enduring belief that folk, experimental and classical music belong in conversation, on the same stage, unites the event’s disparate programming. [/pullquote]\u003c/span>\u003c/p>\n\u003cp>That musical sorcery returns to SFJAZZ on May 30–June 1, when this year’s \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a> brings a program of four genre-agnostic concerts designed to inspire, challenge and delight—plus several artist talks and a film screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s kind of like a fresco: a lot of it is getting put \u003c/span>\u003cspan style=\"font-weight: 400\">together even as we speak,” Kronos Quartet’s \u003c/span>\u003cspan style=\"font-weight: 400\">founding violinist and creative director David Harrington says over the phone. \u003c/span>\u003c/p>\n\u003ch2>Premiering New, Experimental Works\u003c/h2>\n\u003cp>The centerpiece of the festival is the premiere of three new works from Kronos’ \u003ca href=\"https://kronosquartet.org/fifty-for-the-future\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a> project, an ongoing initiative that commissions pieces from diverse, international composers. Kronos Quartet performs the resulting works at prestigious institutions such as Carnegie Hall, introducing the emerging composers to the upper echelons of the classical world, and deposits the Fifty for the Future scores and multimedia resources into an online archive that’s free for all to use.\u003c/p>\n\u003cp>At SFJAZZ on June 1, singer-composer Hawa Kassé Mady Diabaté of Malian group \u003ca href=\"http://triodakali-kronosquartet.com/\" target=\"_blank\" rel=\"noopener\">Trio Da Kali\u003c/a> performs her new Fifty for the Future piece inspired by \u003ca href=\"https://vimeo.com/73866734\" target=\"_blank\" rel=\"noopener\">\u003cem>tegere tulon\u003c/em>\u003c/a>, the impromptu hand-clapping songs and dances Malian girls create in the countryside. Ethnomusicologist \u003ca href=\"https://en.wikipedia.org/wiki/Lucy_Dur%C3%A1n\" target=\"_blank\" rel=\"noopener\">Lucy Duran\u003c/a>, who specializes in African music, will give a pre-show talk contextualizing Diabaté’s performance.\u003c/p>\n\u003cp>https://youtu.be/9ttsz6j6bjM\u003c/p>\n\u003cp>On May 30, the quartet will also premiere a Fifty for the Future piece by Stanford professor \u003ca href=\"https://music.stanford.edu/people/mark-applebaum\" target=\"_blank\" rel=\"noopener\">Mark Applebaum\u003c/a>, whose playful compositions have been known to include junk-as-instruments, non-musical players such as florists and even a piece for three conductors and no musicians. Plus, there’s a new work Fifty for the Future work by \u003ca href=\"http://www.missymazzoli.com/\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>, a boundary-pushing rising star of the classical world and the Chicago Symphony’s current composer-in-residence.\u003c/p>\n\u003cp>Also on May 30, Kronos Quartet pays homage to the work of left-wing historian Howard Zinn. Ethio-jazz singer-songwriter \u003ca href=\"https://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a>, cultural critic \u003ca href=\"http://rebeccasolnit.net/\" target=\"_blank\" rel=\"noopener\">Rebecca Solnit\u003c/a>, folk musician \u003ca href=\"http://www.leeknightmusic.com/\" target=\"_blank\" rel=\"noopener\">Lee Knight\u003c/a> and poet/actor \u003ca href=\"https://michaelthe3rd.weebly.com/\" target=\"_blank\" rel=\"noopener\">Michael Wayne Turner III\u003c/a> will accompany the musicians with readings from works by Zinn and Martin Luther King, Jr. (Zinn’s \u003cem>A People’s History of the United States \u003c/em>highlights how abolitionists, labor organizers, feminists, civil rights leaders and other dissenters shaped American history.) Meklit performs with Kronos once again on June 1. [aside postid='pop_111696']\u003c/p>\n\u003ch2>Paying Homage to a Folk Music Great\u003c/h2>\n\u003cp>This year’s Kronos Festival also features tributes to \u003ca href=\"https://www.peteseegermusic.com/\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, the folk musician and activist who would have turned 100 this year. Harrington considers him one of the all-time greatest American composers.\u003c/p>\n\u003cp>“I grew up listening to his music, we played it for our kids and we played it for our grandkids,” says Harrington. “Now, Kronos is playing it for our audience.”\u003c/p>\n\u003cp>At a pre-festival event at the Exploratorium on May 29, there’s a screening of rare footage from Seeger’s travels. And on June 1 at SFJAZZ, folk music historian Todd Harvey of the \u003ca href=\"https://www.loc.gov/folklife/index.html\" target=\"_blank\" rel=\"noopener\">American Folklife Center\u003c/a> gives a talk about Seeger’s impact and environmental and civil rights activism. Composer Jacob Garchik, of the Balkan brass band Slavic Soul Party, composed an homage to Seeger that Kronos will perform.\u003c/p>\n\u003cp>Contemporary folk artists following in Seeger’s footsteps also perform with Kronos throughout the festival, including \u003ca href=\"http://www.samamidon.com/\" target=\"_blank\" rel=\"noopener\">Sam Amidon\u003c/a>, a multi-instrumentalist who grew up playing in a family band and has since been featured on albums by Tune-Yards and the National, as well as Lee Knight, a keeper of traditional Appalachian folk music.\u003c/p>\n\u003cp>https://youtu.be/eYCEzdOOrjE\u003c/p>\n\u003cp>CocoRosie joins Kronos once again on May 30, as does \u003ca href=\"https://www.jherekbischoff.com/#home\" target=\"_blank\" rel=\"noopener\">Jherek Bischoff\u003c/a>, a horn and string player whose solo career emerged from a successful one as a side man in the influential experimental band Xiu Xiu. Bischoff performs his original compositions for Kronos and bass guitar.\u003c/p>\n\u003cp>“I’m energized by what I hear CocoRosie doing,” says Harrington of the lineup. “And every time we’re around Jherek Bischoff—he’s one of the most ‘up’ persons that I know of. He brings everyone to a higher realm.”\u003c/p>\n\u003ch2>Giving Students a Chance to Shine\u003c/h2>\n\u003cp>This year’s artist-in-residence, opera singer and San Francisco Girls Chorus artistic director \u003ca href=\"https://www.sfgirlschorus.org/valerie-sainte-agathe\" target=\"_blank\" rel=\"noopener\">Valérie Sainte-Agathe\u003c/a>, joins Kronos for all three evenings along with singers from the \u003ca href=\"https://www.sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. Student musicians from the Ruth Asawa San Francisco School of the Arts also perform works from Fifty for the Future on May 30 and 31. [aside postid='arts_13855947']\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">e think it’s a good idea that our audience knows that music is happening in the public schools in San Francisco,” says Harrington. “We’re able to give young performers a chance to perform and to have an audience and to learn what it’s like to get out there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Kronos Festival is more than eclectic, with multiple trains of thought that may not have obvious connections until one arrives and hears the master musicians in their element. The music may be all over the map—literally, as it comes from all over the globe—but Kronos Quartet’s enduring belief that folk, experimental and classical music belong in conversation, on the same stage, unites the event’s disparate programming. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Harrington sums it up best: “I look at the Kronos Festival 2019 is opportunity for all of us to be reinvigorated, to learn more about what surrounds us and maybe to find things we didn’t know are happening.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The full schedule of events and more information on the Kronos Festival can be found \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update, May 30:\u003c/strong> Kronos Performing Arts Association (KPAA) announced that Hawa Kassé Mady Diabaté canceled her appearance at Kronos Festival due to visa delays. According to KPAA, the United States embassy in Mali subjected her to the Trump administration’s “extreme vetting” procedure that will delay her visa indefinitely. San Francisco Girls Chorus and Valerie Sainte-Agathe will still perform her piece, Tegere Tulon, on June 1.\u003c/em>\u003c/p>\n\u003cp>\u003cem>“It is deeply upsetting that such an amazing vocalist would be prevented from sharing her unique artistry here,” said KPAA Managing Director Janet Cowperthwaite. “What a missed opportunity for Kronos, the San Francisco Girls Chorus, and our audiences.”\u003c/em>\u003c/p>\n\u003cp>When it comes to collaboration, the members of Kronos Quartet don’t seem too concerned with a musician’s genre—or age, or language or musical instrument, for that matter. Instead, the contemporary-classical powerhouse tends to tap people whose work is emotionally moving, intellectually stimulating and technically impressive as hell.\u003c/p>\n\u003cp>To give one example: last year, at the quartet’s annual festival at SFJAZZ, Kronos’ delicate string playing accompanied a surrealist, sorrowful sailor song by freak-folk duo \u003ca href=\"https://www.cocorosiemusic.com/\" target=\"_blank\" rel=\"noopener\">CocoRosie\u003c/a>. As CocoRosie’s operatic vocals swelled, the quartet’s bows went flying as they shredded on their violins, cello and viola. Soon, tabla master \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a> joined in, beating a pitter-patter rhythm on his drums with the intuitive touch of a reiki healer. The musicians locked in step with the agility of the Warriors’ starting squad, and the whole performance vibrated toward an epic crescendo, leaving the audience with their jaws on the floor.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>That musical sorcery returns to SFJAZZ on May 30–June 1, when this year’s \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a> brings a program of four genre-agnostic concerts designed to inspire, challenge and delight—plus several artist talks and a film screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s kind of like a fresco: a lot of it is getting put \u003c/span>\u003cspan style=\"font-weight: 400\">together even as we speak,” Kronos Quartet’s \u003c/span>\u003cspan style=\"font-weight: 400\">founding violinist and creative director David Harrington says over the phone. \u003c/span>\u003c/p>\n\u003ch2>Premiering New, Experimental Works\u003c/h2>\n\u003cp>The centerpiece of the festival is the premiere of three new works from Kronos’ \u003ca href=\"https://kronosquartet.org/fifty-for-the-future\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a> project, an ongoing initiative that commissions pieces from diverse, international composers. Kronos Quartet performs the resulting works at prestigious institutions such as Carnegie Hall, introducing the emerging composers to the upper echelons of the classical world, and deposits the Fifty for the Future scores and multimedia resources into an online archive that’s free for all to use.\u003c/p>\n\u003cp>At SFJAZZ on June 1, singer-composer Hawa Kassé Mady Diabaté of Malian group \u003ca href=\"http://triodakali-kronosquartet.com/\" target=\"_blank\" rel=\"noopener\">Trio Da Kali\u003c/a> performs her new Fifty for the Future piece inspired by \u003ca href=\"https://vimeo.com/73866734\" target=\"_blank\" rel=\"noopener\">\u003cem>tegere tulon\u003c/em>\u003c/a>, the impromptu hand-clapping songs and dances Malian girls create in the countryside. Ethnomusicologist \u003ca href=\"https://en.wikipedia.org/wiki/Lucy_Dur%C3%A1n\" target=\"_blank\" rel=\"noopener\">Lucy Duran\u003c/a>, who specializes in African music, will give a pre-show talk contextualizing Diabaté’s performance.\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/9ttsz6j6bjM'\n title='//www.youtube.com/embed/9ttsz6j6bjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On May 30, the quartet will also premiere a Fifty for the Future piece by Stanford professor \u003ca href=\"https://music.stanford.edu/people/mark-applebaum\" target=\"_blank\" rel=\"noopener\">Mark Applebaum\u003c/a>, whose playful compositions have been known to include junk-as-instruments, non-musical players such as florists and even a piece for three conductors and no musicians. Plus, there’s a new work Fifty for the Future work by \u003ca href=\"http://www.missymazzoli.com/\" target=\"_blank\" rel=\"noopener\">Missy Mazzoli\u003c/a>, a boundary-pushing rising star of the classical world and the Chicago Symphony’s current composer-in-residence.\u003c/p>\n\u003cp>Also on May 30, Kronos Quartet pays homage to the work of left-wing historian Howard Zinn. Ethio-jazz singer-songwriter \u003ca href=\"https://www.meklitmusic.com/\" target=\"_blank\" rel=\"noopener\">Meklit\u003c/a>, cultural critic \u003ca href=\"http://rebeccasolnit.net/\" target=\"_blank\" rel=\"noopener\">Rebecca Solnit\u003c/a>, folk musician \u003ca href=\"http://www.leeknightmusic.com/\" target=\"_blank\" rel=\"noopener\">Lee Knight\u003c/a> and poet/actor \u003ca href=\"https://michaelthe3rd.weebly.com/\" target=\"_blank\" rel=\"noopener\">Michael Wayne Turner III\u003c/a> will accompany the musicians with readings from works by Zinn and Martin Luther King, Jr. (Zinn’s \u003cem>A People’s History of the United States \u003c/em>highlights how abolitionists, labor organizers, feminists, civil rights leaders and other dissenters shaped American history.) Meklit performs with Kronos once again on June 1. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Paying Homage to a Folk Music Great\u003c/h2>\n\u003cp>This year’s Kronos Festival also features tributes to \u003ca href=\"https://www.peteseegermusic.com/\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, the folk musician and activist who would have turned 100 this year. Harrington considers him one of the all-time greatest American composers.\u003c/p>\n\u003cp>“I grew up listening to his music, we played it for our kids and we played it for our grandkids,” says Harrington. “Now, Kronos is playing it for our audience.”\u003c/p>\n\u003cp>At a pre-festival event at the Exploratorium on May 29, there’s a screening of rare footage from Seeger’s travels. And on June 1 at SFJAZZ, folk music historian Todd Harvey of the \u003ca href=\"https://www.loc.gov/folklife/index.html\" target=\"_blank\" rel=\"noopener\">American Folklife Center\u003c/a> gives a talk about Seeger’s impact and environmental and civil rights activism. Composer Jacob Garchik, of the Balkan brass band Slavic Soul Party, composed an homage to Seeger that Kronos will perform.\u003c/p>\n\u003cp>Contemporary folk artists following in Seeger’s footsteps also perform with Kronos throughout the festival, including \u003ca href=\"http://www.samamidon.com/\" target=\"_blank\" rel=\"noopener\">Sam Amidon\u003c/a>, a multi-instrumentalist who grew up playing in a family band and has since been featured on albums by Tune-Yards and the National, as well as Lee Knight, a keeper of traditional Appalachian folk music.\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/eYCEzdOOrjE'\n title='//www.youtube.com/embed/eYCEzdOOrjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>CocoRosie joins Kronos once again on May 30, as does \u003ca href=\"https://www.jherekbischoff.com/#home\" target=\"_blank\" rel=\"noopener\">Jherek Bischoff\u003c/a>, a horn and string player whose solo career emerged from a successful one as a side man in the influential experimental band Xiu Xiu. Bischoff performs his original compositions for Kronos and bass guitar.\u003c/p>\n\u003cp>“I’m energized by what I hear CocoRosie doing,” says Harrington of the lineup. “And every time we’re around Jherek Bischoff—he’s one of the most ‘up’ persons that I know of. He brings everyone to a higher realm.”\u003c/p>\n\u003ch2>Giving Students a Chance to Shine\u003c/h2>\n\u003cp>This year’s artist-in-residence, opera singer and San Francisco Girls Chorus artistic director \u003ca href=\"https://www.sfgirlschorus.org/valerie-sainte-agathe\" target=\"_blank\" rel=\"noopener\">Valérie Sainte-Agathe\u003c/a>, joins Kronos for all three evenings along with singers from the \u003ca href=\"https://www.sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. Student musicians from the Ruth Asawa San Francisco School of the Arts also perform works from Fifty for the Future on May 30 and 31. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">e think it’s a good idea that our audience knows that music is happening in the public schools in San Francisco,” says Harrington. “We’re able to give young performers a chance to perform and to have an audience and to learn what it’s like to get out there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Kronos Festival is more than eclectic, with multiple trains of thought that may not have obvious connections until one arrives and hears the master musicians in their element. The music may be all over the map—literally, as it comes from all over the globe—but Kronos Quartet’s enduring belief that folk, experimental and classical music belong in conversation, on the same stage, unites the event’s disparate programming. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Harrington sums it up best: “I look at the Kronos Festival 2019 is opportunity for all of us to be reinvigorated, to learn more about what surrounds us and maybe to find things we didn’t know are happening.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The full schedule of events and more information on the Kronos Festival can be found \u003ca href=\"https://www.kronosquartet.org/kronos-festival-2019\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Complete Play-by-Play of the 2019 Grammy Awards",
"headTitle": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"content": "\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[contextly_sidebar id=”NOsRsKhC4dv9SK8p8eDhnDdOqxRkohH3″]\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Artists H.E.R., Fantastic Negrito and More Win Grammys",
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"content": "\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. [contextly_sidebar id=”aegPM1aJbUGHg4rZKoumubHB9GeydshH”]\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. [contextly_sidebar id=”PG9gW2jdmBWy0PpW48bRxfJQiBjMY5BC”]\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The best of the best have recorded Robert Schumann’s Symphonies Nos. 1–4, including world-renowned ensembles such as Herbert von Karajan conducting the Berlin Philharmonic and Leonard Bernstein leading the New York Philharmonic. So how can an orchestra possibly re-imagine a piece of music that’s been performed since the mid-19th century, let alone render that performance original enough to be worthy of a Grammy nomination in 2019?\u003c/p>\n\u003cp>“In this traditional literature that we record, there’s certainly no point in recording it in these times unless you have something unique to say about it,” says Jack Vad, a producer and engineer who collaborated with outgoing music director Michael Tilson Thomas on the San Francisco Symphony’s recordings of Schumann’s symphonies. The double-disc set \u003cem>Schumann: Symphonies Nos. 1–4\u003c/em> (SFS Media), recorded in Davies Symphony Hall and released on the symphony’s own label, is up for Best Orchestral Performance at the 61st Grammy Awards this Sunday.\u003c/p>\n\u003cp>“The differences in interpretation that are exemplified in this particular set are ones that reflect a more nuanced, more sensitive and more intimate feeling about these pieces,” Vad tells me. “I think when you get to that level of subtlety, all of a sudden you find things that are a bit different. It’s easy to be loud and it’s easy to be quiet and simple, but there are a whole lot of other things in between.”\u003c/p>\n\u003cp>https://youtu.be/DnSQlqBmW-8\u003c/p>\n\u003cp>Admittedly, like most people, I’ve always been more into to the pop performances and celebrity drama at the Grammy Awards (like Ariana Grande \u003ca href=\"https://www.elle.com/culture/celebrities/a26242352/ariana-grande-grammy-producer-lying-tweets/\" target=\"_blank\" rel=\"noopener\">beefing\u003c/a> with Grammy producer Ken Ehlrich this year). But there are dozens of Grammy categories—in classical, opera, jazz, metal and blues—that don’t get televised. This year’s awards feature two dozen-plus Bay Area nominees that you won’t see on TV this weekend, and close to half of those \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">nominees\u003c/a>, including MTT and the San Francisco Symphony, are in the classical and opera categories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mason Bates’ tech-inspired opera \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a> is a hot contender for Best Opera Recording, Best Engineered Classical Album and Best Contemporary Classical Composition. \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is up for Best Opera Recording for \u003cem>Doctor Atomic\u003c/em>, which premiered at San Francisco Opera. Conductor \u003cspan style=\"font-weight: 400\">Constantine Orbelian and producer Vilius Keras, both locals, could take home the Best Opera Recording award for their work on Verdi’s \u003cem>Rigoletto\u003c/em> with the Kaunas City Symphony Orchestra and the Men Of The Kaunas State Choir. And in Contemporary Classical Composition, Bates competes against fellow Bay Area composer Jake Heggie, who is nominated for his farcical meta-opera \u003cem>Great Scott\u003c/em>. [contextly_sidebar id=”ig9G0wxIy1dWqoj9EcuVkxnUgGBvOhCv”]\u003c/span>\u003c/p>\n\u003cp>“I think getting this far does reflect a whole village,” says Bates of reaching Grammy-level contention. “There’s the singers, who are amazing, and obviously there’s the recording engineers. And then there’s the music and libretto—and that is the anchor of it all—but it all has to work together.”\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, one of the country’s most boundary-pushing string ensembles, is in the running for Best Chamber Music/Small Ensemble Performance with \u003cem>Landfall\u003c/em>, the moody and surrealist album they recorded with musician and performance artist Laurie Anderson. And veteran Bay Area engineers Keith O. Johnson and Sean Royce Martin are up for Best Engineered Classical Album for their work on the Dallas Winds’ \u003cem>John Williams at the Movies\u003c/em>, competing against fellow local engineer Shawn Murphy, who worked on Andris Nelsons and Boston Symphony Orchestra’s rendition of Shostakovich’s Symphonies Nos. 4 and 11. [contextly_sidebar id=”4Pg74aEbfe4miG4RHq29kG5LfUbaA8YR”]\u003c/p>\n\u003cp>“[The recordings] that have merit—it’s a lot more than technical do-how,” says Keith O. Johnson, explaining that engineering the Dallas Winds’ renditions of Williams’ classic theme songs for \u003cem>Superman\u003c/em> and \u003cem>Star Wars\u003c/em> required creative decision-making such as knowing when to emphasize a soloist or re-position the listener’s vantage point from the audience to the orchestra pit. “[The Recording Academy] is interested in performance, emotions, feelings, drama, staging—the kinds of things that make a recording something special to listen to.”\u003c/p>\n\u003cp>https://youtu.be/ddTQmLyfbqo\u003c/p>\n\u003cp>Although the Grammys aren’t quite as prestigious in the classical music world as the Pulitzer Prize—and, according to industry insiders, don’t make a big difference in sales—some critics argue that the Grammys’ emphasis on contemporary and historical works alike reward orchestras for taking risks.\u003c/p>\n\u003cp>“These days, the classical Grammys are much more closely linked to live orchestral performance than they’ve been for quite some time,” writes Anne Midgette for \u003cem>\u003ca href=\"https://www.washingtonpost.com/entertainment/music/orchestras-dont-get-record-deals-any-more-the-grammys-show-a-silver-lining/2019/02/07/161ebcc4-2990-11e9-b011-d8500644dc98_story.html?noredirect=on&utm_term=.12e0fceb1a00\" target=\"_blank\" rel=\"noopener\">The Washington Post\u003c/a>\u003c/em>. “That’s because most orchestral recordings these days are made during performances, and are issued, in many cases, on orchestras’ own in-house labels. Recording, increasingly, is part of an orchestra’s mandate. And since, as we’ve seen, recordings tend to feature different repertoire than standard subscription programs, this trend of recording concerts for release is contributing, slowly but surely, to a perceptible broadening of the orchestral repertoire.”\u003c/p>\n\u003cp>Though the winners of the classical and opera categories won’t be seen on TV this Sunday at the Grammys, it’s heartening to know that the Bay Area’s forward-thinking classical music talent is recognized on such a mainstream platform.\u003c/p>\n\u003cp>As Kronos Quartet’s David Harrington jokes: “\u003cem>Landfall\u003c/em> for \u003ca href=\"https://www.grammy.com/grammys/news/album-year-nominees-revealed-2019-grammy-awards\" target=\"_blank\" rel=\"noopener\">Album of the Year\u003c/a>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best of the best have recorded Robert Schumann’s Symphonies Nos. 1–4, including world-renowned ensembles such as Herbert von Karajan conducting the Berlin Philharmonic and Leonard Bernstein leading the New York Philharmonic. So how can an orchestra possibly re-imagine a piece of music that’s been performed since the mid-19th century, let alone render that performance original enough to be worthy of a Grammy nomination in 2019?\u003c/p>\n\u003cp>“In this traditional literature that we record, there’s certainly no point in recording it in these times unless you have something unique to say about it,” says Jack Vad, a producer and engineer who collaborated with outgoing music director Michael Tilson Thomas on the San Francisco Symphony’s recordings of Schumann’s symphonies. The double-disc set \u003cem>Schumann: Symphonies Nos. 1–4\u003c/em> (SFS Media), recorded in Davies Symphony Hall and released on the symphony’s own label, is up for Best Orchestral Performance at the 61st Grammy Awards this Sunday.\u003c/p>\n\u003cp>“The differences in interpretation that are exemplified in this particular set are ones that reflect a more nuanced, more sensitive and more intimate feeling about these pieces,” Vad tells me. “I think when you get to that level of subtlety, all of a sudden you find things that are a bit different. It’s easy to be loud and it’s easy to be quiet and simple, but there are a whole lot of other things in between.”\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/DnSQlqBmW-8'\n title='//www.youtube.com/embed/DnSQlqBmW-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Admittedly, like most people, I’ve always been more into to the pop performances and celebrity drama at the Grammy Awards (like Ariana Grande \u003ca href=\"https://www.elle.com/culture/celebrities/a26242352/ariana-grande-grammy-producer-lying-tweets/\" target=\"_blank\" rel=\"noopener\">beefing\u003c/a> with Grammy producer Ken Ehlrich this year). But there are dozens of Grammy categories—in classical, opera, jazz, metal and blues—that don’t get televised. This year’s awards feature two dozen-plus Bay Area nominees that you won’t see on TV this weekend, and close to half of those \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">nominees\u003c/a>, including MTT and the San Francisco Symphony, are in the classical and opera categories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mason Bates’ tech-inspired opera \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a> is a hot contender for Best Opera Recording, Best Engineered Classical Album and Best Contemporary Classical Composition. \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is up for Best Opera Recording for \u003cem>Doctor Atomic\u003c/em>, which premiered at San Francisco Opera. Conductor \u003cspan style=\"font-weight: 400\">Constantine Orbelian and producer Vilius Keras, both locals, could take home the Best Opera Recording award for their work on Verdi’s \u003cem>Rigoletto\u003c/em> with the Kaunas City Symphony Orchestra and the Men Of The Kaunas State Choir. And in Contemporary Classical Composition, Bates competes against fellow Bay Area composer Jake Heggie, who is nominated for his farcical meta-opera \u003cem>Great Scott\u003c/em>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>“I think getting this far does reflect a whole village,” says Bates of reaching Grammy-level contention. “There’s the singers, who are amazing, and obviously there’s the recording engineers. And then there’s the music and libretto—and that is the anchor of it all—but it all has to work together.”\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, one of the country’s most boundary-pushing string ensembles, is in the running for Best Chamber Music/Small Ensemble Performance with \u003cem>Landfall\u003c/em>, the moody and surrealist album they recorded with musician and performance artist Laurie Anderson. And veteran Bay Area engineers Keith O. Johnson and Sean Royce Martin are up for Best Engineered Classical Album for their work on the Dallas Winds’ \u003cem>John Williams at the Movies\u003c/em>, competing against fellow local engineer Shawn Murphy, who worked on Andris Nelsons and Boston Symphony Orchestra’s rendition of Shostakovich’s Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[The recordings] that have merit—it’s a lot more than technical do-how,” says Keith O. Johnson, explaining that engineering the Dallas Winds’ renditions of Williams’ classic theme songs for \u003cem>Superman\u003c/em> and \u003cem>Star Wars\u003c/em> required creative decision-making such as knowing when to emphasize a soloist or re-position the listener’s vantage point from the audience to the orchestra pit. “[The Recording Academy] is interested in performance, emotions, feelings, drama, staging—the kinds of things that make a recording something special to listen to.”\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/ddTQmLyfbqo'\n title='//www.youtube.com/embed/ddTQmLyfbqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although the Grammys aren’t quite as prestigious in the classical music world as the Pulitzer Prize—and, according to industry insiders, don’t make a big difference in sales—some critics argue that the Grammys’ emphasis on contemporary and historical works alike reward orchestras for taking risks.\u003c/p>\n\u003cp>“These days, the classical Grammys are much more closely linked to live orchestral performance than they’ve been for quite some time,” writes Anne Midgette for \u003cem>\u003ca href=\"https://www.washingtonpost.com/entertainment/music/orchestras-dont-get-record-deals-any-more-the-grammys-show-a-silver-lining/2019/02/07/161ebcc4-2990-11e9-b011-d8500644dc98_story.html?noredirect=on&utm_term=.12e0fceb1a00\" target=\"_blank\" rel=\"noopener\">The Washington Post\u003c/a>\u003c/em>. “That’s because most orchestral recordings these days are made during performances, and are issued, in many cases, on orchestras’ own in-house labels. Recording, increasingly, is part of an orchestra’s mandate. And since, as we’ve seen, recordings tend to feature different repertoire than standard subscription programs, this trend of recording concerts for release is contributing, slowly but surely, to a perceptible broadening of the orchestral repertoire.”\u003c/p>\n\u003cp>Though the winners of the classical and opera categories won’t be seen on TV this Sunday at the Grammys, it’s heartening to know that the Bay Area’s forward-thinking classical music talent is recognized on such a mainstream platform.\u003c/p>\n\u003cp>As Kronos Quartet’s David Harrington jokes: “\u003cem>Landfall\u003c/em> for \u003ca href=\"https://www.grammy.com/grammys/news/album-year-nominees-revealed-2019-grammy-awards\" target=\"_blank\" rel=\"noopener\">Album of the Year\u003c/a>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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