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"title": "Due to Government Shutdown, California Humanities Suspends All Arts Grants",
"headTitle": "Due to Government Shutdown, California Humanities Suspends All Arts Grants | KQED",
"content": "\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>KQED’s Sarah Hotchkiss, Gabe Meline, Nastia Voynovskaya and Chloe Veltman contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, California Humanities issued more than $1 million in grants to artists and cultural organizations.\u003c/p>\n\u003cp>But now, the National Endowment for the Humanities’ state partner has suspended grant-making indefinitely as the historic federal government shutdown nears its sixth week. \u003c/p>\n\u003cp>The independent nonprofit, which has offices in Oakland and Los Angeles, is operating on an “austerity basis,” CEO Julie Fry told KQED, unable to release even already awarded grants. \u003c/p>\n\u003cp>In the final two months of 2018, \u003ca href=\"https://calhum.org/\">California Humanities\u003c/a> awarded more than 30 grants totaling approximately $350,000. But the release of the funds, in some cases expected to occur this month, is now delayed. Likewise, interim and final payments of earlier grants are on pause until further notice.\u003c/p>\n\u003cfigure id=\"attachment_13824382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg\" alt=\"Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/NEA-Funding-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudio Roncoli a recipient of an award from the National Endowment for the Arts works in his studio space at the Bakehouse Art Complex on March 16, 2017 in Miami, Florida. \u003ccite>(Joe Raedle/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We will resume payments as soon as the government reopens, the federal budget is approved, and the NEH recommences payments to the state humanities councils,” Fry told grant recipients and hopefuls in an email sent on Friday. “At this point, we are unsure how long this process will take.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fry said the National Endowment for the Humanities (NEH) contributes a “significant portion” of California Humanities’ grant-making budget. Last year California Humanities awarded just over $1,030,000 to 98 projects statewide in categories such as documentary filmmaking and library innovation. Now, though, the organization is pausing even travel and office expenses. \u003c/p>\n\u003cp>“We’re making do with what paper towels we already have,” Fry said. \u003c/p>\n\u003cfigure id=\"attachment_13849282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg\" alt=\"Museum of the African Diaspora\" width=\"800\" height=\"558\" class=\"size-medium wp-image-13849282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1200x836.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28-1920x1338.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/MLK_2016_28.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Museum of the African Diaspora. \u003ccite>(Courtesy of the Museum of the African Diaspora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across the country, the National Gallery of Art as well as 19 Smithsonian museums are closed due to the shutdown. Their employees are among an estimated 800,000 federal workers furloughed or otherwise deprived of at least one paycheck during the holiday season. \u003c/p>\n\u003cp>The government shutdown, now the longest in history as President Donald Trump demands billions for a southern border wall that he’d promised Mexico would pay for, has also shuttered both the national endowments for the arts and humanities, which together disburse nearly $300 million nationwide each year. \u003c/p>\n\u003cp>For Bay Area artists and cultural nonprofits reliant on the national endowments, either directly or through state-level groups such as the California Arts Council and California Humanities, the shutdown has destabilized an already precarious ecosystem. (A spokesperson for the California Arts Council said the shutdown has yet to impact its grant-making, noting that the agency plans to issue 2019 awards at the end of June.) Yet even if the government reboots tomorrow, arts figures tell KQED, the consequences will be felt for the rest of the year.\u003c/p>\n\u003cp>The shutdown is also a reminder of Trump’s threats to \u003ca href=\"https://www.kqed.org/arts/12649417/report-trump-administration-plans-to-privatize-cpb-cut-nea\" rel=\"noopener\" target=\"_blank\">cut the national endowments altogether\u003c/a>. Last year, the NEA issued \u003ca href=\"https://www.kqed.org/arts/13831888/nea-awards-1-7-million-in-grants-to-bay-area-organizations\" rel=\"noopener\" target=\"_blank\">$1.7 million to Bay Area arts groups\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13848854\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg\" alt=\"Kronos Quartet.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Kronos_2014_a_creditWojciechWandzel-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet. \u003ccite>(Wojciech Wandzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For small to medium-size arts organizations such as the Kronos Quartet’s Kronos Performing Arts Association, the NEA shutdown is a major source of anxiety. Kronos development manager Mason Dille said he doesn’t know when to expect reimbursement for NEA-supported projects, and his agency contacts simply aren’t at work to field questions. “Any delay in the application process now might impact the work we are able to do far into the 2019-20 season,” he said. \u003c/p>\n\u003cp>NEA workers aren’t just funders—they’re researchers and advocates with a nationwide mandate, often providing resources to remote or disinvested areas. Dille pointed out that agency staff couldn’t participate in several major annual arts conferences this month, calling it a “missed opportunity that will resonate across the country for the entire year.” \u003c/p>\n\u003cp>James Leventhal, interim director and chief development officer at Smithsonian affiliate Museum of the African Diaspora, said he hasn’t heard from his furloughed national colleagues for the past three weeks. As a Smithsonian affiliate, MoAD is one of some 200 resource-sharing museums. So the lack of communication could jeopardize events such as a mid-February concert for local middle-school students featuring the Smithsonian Museum Jazz Masterworks Orchestra.\u003c/p>\n\u003cp>Leventhal also stressed the geographic scope of the national endowments. “When you hear about the real work of the NEA, that real work is about making sure culture is reaching every single corner of this nation,” he said, likening the agencies’ shutdown to a “moratorium on culture.” \u003c/p>\n\u003cfigure id=\"attachment_13849287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg\" alt=\"The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13849287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/History-web.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The History Museum of the Museums of Sonoma County is among several Smithsonian affiliates in the Bay Area. \u003ccite>(Museums of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the national endowments are still accepting grant applications, organization leaders can’t communicate with the agencies as deadlines near, and the ultimate effect on processing time is unclear. “I’m working on a NEA grant and we’re concerned that the Feb. 5 deadline for filing is quickly approaching,” said Jeff Nathanson, executive director of Museums of Sonoma County.\u003c/p>\n\u003cp>And Eric Stanley, Museums of Sonoma County’s associate director and curator of history, said preparation for an upcoming “Pacific World”-themed exhibition has nearly ground to a halt. “Two of the main archives I had been talking to about lending objects and collaborating on the exhibition were SF Maritime Museum and Point Reyes, both national parks,” he said. “Unfortunately it looks like the shutdown will completely prevent me from working with either.” \u003c/p>\n\u003cp>At the bottom line, the national endowment shutdown is interrupting cash flow, especially for nonprofits with little reserves. Roberto Bedoya, Oakland’s cultural affairs manager, said last year the NEA supported his department’s development of the city’s Cultural Plan, sending a check within a month of receiving his invoice. \u003c/p>\n\u003cp>“Now that’s not happening,” Bedoya said, adding that some nonprofits in the Bay Area, with its astronomical overhead, are a grant or two away from folding. \u003c/p>\n\u003cp>“Especially for marginalized communities, rural communities—the shutdown is part of this administration’s larger disinvestment in the public good,” Bedoya said. “As we knew, arts and culture aren’t their priority.” \u003c/p>\n\u003cfigure id=\"attachment_13849285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg\" alt=\""The shutdown is part of this administration’s larger disinvestment in the public good," says Roberto Bedoya, Oakland's cultural affairs manager.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“The shutdown is part of this administration’s larger disinvestment in the public good,” says Roberto Bedoya, Oakland’s cultural affairs manager. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The national endowments, like the southern border wall, have themselves been points of federal budgeting contention for Trump. In both 2017 and 2018, Trump \u003ca href=\"https://www.kqed.org/arts/13824378/trump-again-seeks-to-eliminate-neh-and-nea-arts-funding\" rel=\"noopener\" target=\"_blank\">proposed eliminating the agencies entirely\u003c/a> before Congress intervened. The NEA and NEH are a minuscule fraction of the budget, and governments of most developed countries vastly outspend the United States on arts and culture.\u003c/p>\n\u003cp>At this point, Fry said, the subject of elimination feels unsurprising. “It comes up on a cyclical basis—cultural agencies are on the table,” she said. On the other hand, Congress recently proposed raising the allocation to the National Endowment for the Humanities, subject to Trump’s signature. \u003c/p>\n\u003cp>“We’ll have to wait for the president’s approval of that when the government reopens,” Fry said. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The\u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\"> Kronos Quartet\u003c/a> has a long history of performing music with a political edge. \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cem>Music for Change: The Banned Countries\u003c/em>,\u003c/a> coming up Saturday at Stanford’s Bing Concert Hall, is no exception.\u003ci>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>After the Trump administration issued executive orders limiting travel from majority-Muslim countries last year, the director of Stanford’s Iranian Studies program, \u003ca href=\"https://web.stanford.edu/group/abbasmilani/cgi-bin/wordpress/\" target=\"_blank\" rel=\"noopener\">Abbas Milani\u003c/a>, was upset.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>“It’s shameful on a human basis. But it’s also destructive to the fabric of culture in this country. And, I would submit, to the long-term strategic interest of this country,” Milani says.\u003c/p>\n\u003cp>Then he got an idea. Melani contacted the Kronos Quartet, long known for provocative collaborations. The pitch: music from “banned” countries—Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen—the \u003ca href=\"https://www.nytimes.com/2017/01/27/us/politics/trump-syrian-refugees.html\" target=\"_blank\" rel=\"noopener\">original seven\u003c/a> named by the Trump administration before it tweaked the list to pass legal muster.\u003c/p>\n\u003cp>Not that this would be the first time the Kronos Quartet has performed music from these countries or worked directly with artists originally from these countries. The program includes a number of works Kronos has performed for decades, like Islam Chipsy’s \u003cem>Zaghlala \u003c/em>arranged for a string quartet by Jacob Garchik\u003cem>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=FK7pgcNFCFU]\u003c/p>\n\u003cp>The subtitle of the piece is \u003ci>Blurred vision caused by strong light hitting the eyes. \u003c/i>You can search for information about Chipsy on the World Wide Web, or you can find him on \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/islam-chipsy\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s website\u003c/a>, where the artist is one of many profiled for the English-speaking world’s convenience:\u003c/p>\n\u003cblockquote>\u003cp>Part of Egypt’s thriving underground music scene, Chipsy’s EEK trio has carved out a singular sonic niche distinct from the electro-chaabi artists who are almost required at wedding celebrations. Raw and lo-fi, his music is both virtuosic and unabashedly hand-crafted.\u003c/p>\u003c/blockquote>\n\u003cp>The program also includes new music commissioned specifically for this concert series, like \u003cem>Winds from South \u003c/em>from the Iranian composer \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/aftab-darvishi\" target=\"_blank\" rel=\"noopener\">Aftab Darvishi \u003c/a>and Dur-Dur Band’s \u003cem>Dooyo. \u003c/em>\u003ca href=\"https://www.npr.org/2013/05/05/180871371/a-funky-fresh-sound-from-somalia-with-a-political-history\" target=\"_blank\" rel=\"noopener\">Dur-Dur Band\u003c/a>, for those unfamiliar with the Mogadishu nightclub scene of the 1980s, delightedly blends funk, disco, and soul. Arranged by film score composer Jacob Garchik, it’s easy to imagine Garchik and the band landing new contracts scoring films.\u003c/p>\n\u003cp>Perhaps it’s not surprising then that\u003cem> Music for Change \u003c/em>doesn’t limit itself to the “banned” countries. This concert series is yet another opportunity for the quartet to celebrate music and musicians it loves from all over the Middle East, Asia and Africa.\u003c/p>\n\u003cp>“The music of the founders of the string quartet: Hayden, Mozart, Beethoven, Schubert,” says Kronos founder and first violinist David Harrington. “For many years, they were the only composers whose work I knew. When I was about 14, I took a look at the globe that was in my room, and I had this moment of realization. All the string quartet music I’ve ever heard was written by four guys who spoke the same language, were of the same religion, and they lived in the same city at one point or another. And that seemed really weird.”\u003c/p>\n\u003cp>Harrington says the concert “is an exploration of life, of culture, of sound, of music.” But he’s come to learn it’s not just the U.S. that bans people or considers certain cultural communication dangerous. “There are places in the world right now where there are things you can’t listen to, you’re forbidden to hear.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7PQYF4-BbrE&w=560&h=315]”They’re scholars of music,” says Milani of Kronos. “They put time into it. Behind every concert, there are months and months of training and rigorous scholarship.”\u003c/p>\n\u003cp>Praising the quartet’s “impeccable taste,” Milani notes Harrington was already so well-versed in the music of the Middle East and Africa, he had ideas about who and what to highlight from the first meeting.\u003c/p>\n\u003cp>“He went through the people, right off the top of his head, that he knew existed. I was just flabbergasted at how clearly ready he was,” Milani marveled.\u003c/p>\n\u003cp>After Stanford, but the Kronos Quartet heads to Europe and the East Coast to perform music from banned countries there, too.\u003c/p>\n\u003cul>\n\u003cli>12/4 — Santa Barbara, California: UC Santa Barbara Arts and Lectures\u003c/li>\n\u003cli>2/8/19 — New York, New York: Carnegie Hall\u003c/li>\n\u003cli>3/2/19 — Washington D.C.: Washington Performing Arts\u003c/li>\n\u003cli>5/9/19 — Sonoma, California: Green Music Center\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> Music for Change: the Banned Countries\u003c/em>\u003c/strong> is one night only, Oct. 20, 2018, at Stanford’s Bing Concert Hall, More information \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The\u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\"> Kronos Quartet\u003c/a> has a long history of performing music with a political edge. \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cem>Music for Change: The Banned Countries\u003c/em>,\u003c/a> coming up Saturday at Stanford’s Bing Concert Hall, is no exception.\u003ci>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>After the Trump administration issued executive orders limiting travel from majority-Muslim countries last year, the director of Stanford’s Iranian Studies program, \u003ca href=\"https://web.stanford.edu/group/abbasmilani/cgi-bin/wordpress/\" target=\"_blank\" rel=\"noopener\">Abbas Milani\u003c/a>, was upset.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>“It’s shameful on a human basis. But it’s also destructive to the fabric of culture in this country. And, I would submit, to the long-term strategic interest of this country,” Milani says.\u003c/p>\n\u003cp>Then he got an idea. Melani contacted the Kronos Quartet, long known for provocative collaborations. The pitch: music from “banned” countries—Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen—the \u003ca href=\"https://www.nytimes.com/2017/01/27/us/politics/trump-syrian-refugees.html\" target=\"_blank\" rel=\"noopener\">original seven\u003c/a> named by the Trump administration before it tweaked the list to pass legal muster.\u003c/p>\n\u003cp>Not that this would be the first time the Kronos Quartet has performed music from these countries or worked directly with artists originally from these countries. The program includes a number of works Kronos has performed for decades, like Islam Chipsy’s \u003cem>Zaghlala \u003c/em>arranged for a string quartet by Jacob Garchik\u003cem>. \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/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/FK7pgcNFCFU'\n title='//www.youtube.com/embed/FK7pgcNFCFU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The subtitle of the piece is \u003ci>Blurred vision caused by strong light hitting the eyes. \u003c/i>You can search for information about Chipsy on the World Wide Web, or you can find him on \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/islam-chipsy\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s website\u003c/a>, where the artist is one of many profiled for the English-speaking world’s convenience:\u003c/p>\n\u003cblockquote>\u003cp>Part of Egypt’s thriving underground music scene, Chipsy’s EEK trio has carved out a singular sonic niche distinct from the electro-chaabi artists who are almost required at wedding celebrations. Raw and lo-fi, his music is both virtuosic and unabashedly hand-crafted.\u003c/p>\u003c/blockquote>\n\u003cp>The program also includes new music commissioned specifically for this concert series, like \u003cem>Winds from South \u003c/em>from the Iranian composer \u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers/aftab-darvishi\" target=\"_blank\" rel=\"noopener\">Aftab Darvishi \u003c/a>and Dur-Dur Band’s \u003cem>Dooyo. \u003c/em>\u003ca href=\"https://www.npr.org/2013/05/05/180871371/a-funky-fresh-sound-from-somalia-with-a-political-history\" target=\"_blank\" rel=\"noopener\">Dur-Dur Band\u003c/a>, for those unfamiliar with the Mogadishu nightclub scene of the 1980s, delightedly blends funk, disco, and soul. Arranged by film score composer Jacob Garchik, it’s easy to imagine Garchik and the band landing new contracts scoring films.\u003c/p>\n\u003cp>Perhaps it’s not surprising then that\u003cem> Music for Change \u003c/em>doesn’t limit itself to the “banned” countries. This concert series is yet another opportunity for the quartet to celebrate music and musicians it loves from all over the Middle East, Asia and Africa.\u003c/p>\n\u003cp>“The music of the founders of the string quartet: Hayden, Mozart, Beethoven, Schubert,” says Kronos founder and first violinist David Harrington. “For many years, they were the only composers whose work I knew. When I was about 14, I took a look at the globe that was in my room, and I had this moment of realization. All the string quartet music I’ve ever heard was written by four guys who spoke the same language, were of the same religion, and they lived in the same city at one point or another. And that seemed really weird.”\u003c/p>\n\u003cp>Harrington says the concert “is an exploration of life, of culture, of sound, of music.” But he’s come to learn it’s not just the U.S. that bans people or considers certain cultural communication dangerous. “There are places in the world right now where there are things you can’t listen to, you’re forbidden to hear.\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/7PQYF4-BbrE'\n title='//www.youtube.com/embed/7PQYF4-BbrE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”They’re scholars of music,” says Milani of Kronos. “They put time into it. Behind every concert, there are months and months of training and rigorous scholarship.”\u003c/p>\n\u003cp>Praising the quartet’s “impeccable taste,” Milani notes Harrington was already so well-versed in the music of the Middle East and Africa, he had ideas about who and what to highlight from the first meeting.\u003c/p>\n\u003cp>“He went through the people, right off the top of his head, that he knew existed. I was just flabbergasted at how clearly ready he was,” Milani marveled.\u003c/p>\n\u003cp>After Stanford, but the Kronos Quartet heads to Europe and the East Coast to perform music from banned countries there, too.\u003c/p>\n\u003cul>\n\u003cli>12/4 — Santa Barbara, California: UC Santa Barbara Arts and Lectures\u003c/li>\n\u003cli>2/8/19 — New York, New York: Carnegie Hall\u003c/li>\n\u003cli>3/2/19 — Washington D.C.: Washington Performing Arts\u003c/li>\n\u003cli>5/9/19 — Sonoma, California: Green Music Center\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> Music for Change: the Banned Countries\u003c/em>\u003c/strong> is one night only, Oct. 20, 2018, at Stanford’s Bing Concert Hall, More information \u003ca href=\"https://live.stanford.edu/calendar/october-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We at KQED Arts often say that Kronos Quartet puts on more inventive programming than we can possibly cover — but this year’s Kronos Festival deserves a special mention.\u003c/p>\n\u003cp>The long-running San Francisco quartet constantly commissions ambitious collaborations, spotlighting outstanding composers who typically don’t get much shine in the white- and male-dominated classical music world. Fittingly, this year’s Kronos Festival prioritizes genre-bending, unexpected sounds while delving into the social issues of our time.\u003c/p>\n\u003cp>Taking place Apr. 26–28 at \u003ca href=\"https://www.sfjazz.org/calendar/?month=4.2018\" target=\"_blank\" rel=\"noopener\">SFJAZZ’s Miner Auditorium\u003c/a>, Kronos Festival kicks off with a collaboration with indie duo CocoRosie, two sisters who rose to cult status in the 2000s freak-folk scene with their hypnotic pop tunes, which utilize toys and found objects as musical instruments. After a joint performance with CocoRosie, Kronos Quartet performs John White’s \u003cem>Drinking and Hooting Machine\u003c/em>, a piece where players blow air over bottles of liquid, changing the pitch by taking sips of whatever the drink may be.\u003c/p>\n\u003cp>Also on Thursday night, Kronos Quartet performs \u003cem>Charleston\u003c/em> by late saxophonist \u003ca href=\"https://www.kqed.org/arts/13817643/ralph-carney-dies-at-61-saxophonist-composer-tom-waits-collaborator\" target=\"_blank\" rel=\"noopener\">Ralph Carney\u003c/a>, which he wrote in homage to victims of the Charleston church massacre. Kronos will also play the piece that Carney says he was thinking of when he wrote \u003cem>Charleston\u003c/em>: John Coltrane’s “Alabama,” about a Birmingham church bombing at the hands of the KKK.\u003c/p>\n\u003cp>The festival continues on Friday, Apr. 27, when Kronos performs works by a variety of composers, including Philip Glass, “post-Mexican” experimentalist Guillermo Galindo, and folk-country singer Jolie Holland; the latter two are premiering new works at the festival. Kronos closes the night with a joint performances with Malian group Trio Da Kali.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/wK233t4Z0lg\u003c/p>\n\u003cp>Saturday, Apr. 28, is the Kronos Festival’s most ambitious day of programming, starting a family concert at 11am. Amaranth Quartet then performs works from Kronos’ Fifty for Future project, which commissions works from diverse, international composers.\u003c/p>\n\u003cp>Experimental composer and multi-instrumentalist David Coulter (who has worked with a wide variety of A-listers, including Tom Waits and Gorillaz) performs an improvisational set. And finally, Kronos closes out the festival on Saturday evening with a night of music by various composers, including spellbinding Vietnamese multi-instrumentalist Vân-Ánh Võ and Oakland’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\">Zachary James Watkins\u003c/a>, whose Kronos-commissioned work \u003cem>Peace Be Till\u003c/em> zeroes in on a defining yet unexpected moment behind the scenes of Martin Luther King, Jr.’s famous “I Have a Dream” speech.\u003c/p>\n\u003cp>For more information and tickets for the Kronos Festival, click \u003ca href=\"https://www.sfjazz.org/calendar/?month=4.2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We at KQED Arts often say that Kronos Quartet puts on more inventive programming than we can possibly cover — but this year’s Kronos Festival deserves a special mention.\u003c/p>\n\u003cp>The long-running San Francisco quartet constantly commissions ambitious collaborations, spotlighting outstanding composers who typically don’t get much shine in the white- and male-dominated classical music world. Fittingly, this year’s Kronos Festival prioritizes genre-bending, unexpected sounds while delving into the social issues of our time.\u003c/p>\n\u003cp>Taking place Apr. 26–28 at \u003ca href=\"https://www.sfjazz.org/calendar/?month=4.2018\" target=\"_blank\" rel=\"noopener\">SFJAZZ’s Miner Auditorium\u003c/a>, Kronos Festival kicks off with a collaboration with indie duo CocoRosie, two sisters who rose to cult status in the 2000s freak-folk scene with their hypnotic pop tunes, which utilize toys and found objects as musical instruments. After a joint performance with CocoRosie, Kronos Quartet performs John White’s \u003cem>Drinking and Hooting Machine\u003c/em>, a piece where players blow air over bottles of liquid, changing the pitch by taking sips of whatever the drink may be.\u003c/p>\n\u003cp>Also on Thursday night, Kronos Quartet performs \u003cem>Charleston\u003c/em> by late saxophonist \u003ca href=\"https://www.kqed.org/arts/13817643/ralph-carney-dies-at-61-saxophonist-composer-tom-waits-collaborator\" target=\"_blank\" rel=\"noopener\">Ralph Carney\u003c/a>, which he wrote in homage to victims of the Charleston church massacre. Kronos will also play the piece that Carney says he was thinking of when he wrote \u003cem>Charleston\u003c/em>: John Coltrane’s “Alabama,” about a Birmingham church bombing at the hands of the KKK.\u003c/p>\n\u003cp>The festival continues on Friday, Apr. 27, when Kronos performs works by a variety of composers, including Philip Glass, “post-Mexican” experimentalist Guillermo Galindo, and folk-country singer Jolie Holland; the latter two are premiering new works at the festival. Kronos closes the night with a joint performances with Malian group Trio Da Kali.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\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/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cal Performances Director Matias Tarnopolsky joins me as co-host this week on The Do List, which is a delight. He dives deep into the worlds of classical music and dance, offering insights into the concerts we covered, including work by Leonard Bernstein, Philip Glass and Joby Talbot. We also gave Matias a crash course in pop, with a discussion of rocker Dan Auerbach of the Black Keys. Matias is game for anything so it’s a great podcast this week. Download it above or find it on iTunes.\u003c/p>\n\u003cp>\u003cstrong>Feb 14-18\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/an-operatic-pairing-about-troubled-relationships/\" target=\"_blank\" rel=\"noopener\"> Bernstein and Heggie contribute one act operas on the bitter realities of romance\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 & 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-setting-of-the-psalms-by-bernstein-makes-for-serene-listening/\" target=\"_blank\" rel=\"noopener\">The South Bay’s Choral Project helps celebrate Bernstein’s 100th birthday with a performance of the serene Chichester Psalms\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 2 and 20: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/philip-glass-plays-his-classic-music-with-changing-parts/\" target=\"_blank\" rel=\"noopener\">Philip Glass is the star of a pair of concerts at San Francisco Performances \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 10-11:\u003c/strong> \u003ca href=\"https://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco offers new dances from young members of the company and Robert Dekkers\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 9-10 and March 15-18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/a-path-of-miracles-leading-to-grace-cathedral/\" target=\"_blank\" rel=\"noopener\">ODC/Dance’s KT Nelson offers a miraculous new dance and the company celebrates its home season\u003cstrong> \u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 14-15:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/31/dan-auerbach-brings-a-rippin-band-to-the-fillmore/\" target=\"_blank\" rel=\"noopener\">Dan Auerbach brings new songs and R&B oldies to life with his Easy Eye Sound Review\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">The innovative violinist and disability rights activist Gaelynn Lea makes two stops in the Bay Area \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb 7-10: \u003c/strong>\u003ca href=\"https://live.stanford.edu/calendar/february-2018/counting-sheep-guerrilla-folk-opera\" target=\"_blank\" rel=\"noopener\">The Lemon Bucket Orkestra does a guerrilla-folk party-punk version of a Ukrainian folk opera at Stanford\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 16-18: \u003c/strong>\u003ca href=\"https://calperformances.org/performances/2017-18/world-stage/counting-sheep-lemon-bucket-orkestra.php\" target=\"_blank\" rel=\"noopener\">And the Lemon Bucket Orkestra brings it’s guerilla punk Ukrainian opera to the Oakland Metro Operahouse \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13809685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809685\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg\" alt=\"The Do List team of Cy Musiker and Matias Tarnopolsky\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6697-1-e1506463393558-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List team of Cy Musiker and Matias Tarnopolsky \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Music with Changing Parts\u003c/em> by Philip Glass is, as my co-host Cal Performances Director Matias Tarnopolsky says, one of the signposts of early minimalism. Along with Terry Riley’s \u003cem>In C\u003c/em> and Steve Reich’s \u003cem> Drumming,\u003c/em> \u003cem>Music with Changing Parts\u003c/em> helped lay the foundation of the movement. \u003c/p>\n\u003cp>Now 80 years old, Glass and the Philip Glass Ensemble will give the work a rare live performance in San Francisco. Glass is still a vigorous performer, and he’ll have help with other pieces from the San Francisco Girls Chorus and musicians from the SF Conservatory of Music. \u003c/p>\n\u003cp>\u003cem>Music with Changing Parts\u003c/em> is hypnotic in its repetitions as it builds and fades in intensity for more than an hour. It may not be for everyone — my wife kept asking me to turn it off — but Matias recalls how when Cal Performances staged \u003cem>Einstein at the Beach\u003c/em> a few years ago, he finished the five-hour opera wanting nothing but more Glass. \u003c/p>\n\u003cp>San Francisco Performances is presenting two concerts devoted to Glass’s music: first, the Kronos Quartet and Timo Andres discuss and play the music on Feb. 2 at Herbst Theater. Then Glass and his ensemble and friends are at Davies Hall Feb. 20. For tickets and other information on Glass’s performance, go \u003ca href=\"https://sfperformances.org/performances/1718/PhilipGlass.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rTzuZik3jYs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music with Changing Parts\u003c/em> by Philip Glass is, as my co-host Cal Performances Director Matias Tarnopolsky says, one of the signposts of early minimalism. Along with Terry Riley’s \u003cem>In C\u003c/em> and Steve Reich’s \u003cem> Drumming,\u003c/em> \u003cem>Music with Changing Parts\u003c/em> helped lay the foundation of the movement. \u003c/p>\n\u003cp>Now 80 years old, Glass and the Philip Glass Ensemble will give the work a rare live performance in San Francisco. Glass is still a vigorous performer, and he’ll have help with other pieces from the San Francisco Girls Chorus and musicians from the SF Conservatory of Music. \u003c/p>\n\u003cp>\u003cem>Music with Changing Parts\u003c/em> is hypnotic in its repetitions as it builds and fades in intensity for more than an hour. It may not be for everyone — my wife kept asking me to turn it off — but Matias recalls how when Cal Performances staged \u003cem>Einstein at the Beach\u003c/em> a few years ago, he finished the five-hour opera wanting nothing but more Glass. \u003c/p>\n\u003cp>San Francisco Performances is presenting two concerts devoted to Glass’s music: first, the Kronos Quartet and Timo Andres discuss and play the music on Feb. 2 at Herbst Theater. Then Glass and his ensemble and friends are at Davies Hall Feb. 20. For tickets and other information on Glass’s performance, go \u003ca href=\"https://sfperformances.org/performances/1718/PhilipGlass.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rTzuZik3jYs'\n title='//www.youtube.com/embed/rTzuZik3jYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Martin Luther King may have never delivered his “\u003ca href=\"https://www.archives.gov/files/press/exhibits/dream-speech.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">I Have a Dream\u003c/a>” speech if it weren’t for two musicians.\u003c/p>\n\u003cp>One of them is King’s personal lawyer and speechwriter, \u003ca href=\"https://www.npr.org/2013/08/27/214224111/clarence-b-jones-a-guiding-hand-behind-i-have-a-dream\" target=\"_blank\" rel=\"noopener noreferrer\">Clarence Jones\u003c/a>, a classically trained clarinetist. Upon meeting King, Jones agreed to join his mission in part because of the young minister’s oratory abilities, particularly the musical qualities of his booming voice. Eventually, Jones’ notes from his conversations with King — about segregation, discrimination, financial disenfranchisement, and voter suppression — made their way into the first several paragraphs of “I Have a Dream.”\u003c/p>\n\u003cp>But it was \u003ca href=\"https://en.wikipedia.org/wiki/Mahalia_Jackson\" target=\"_blank\" rel=\"noopener noreferrer\">Mahalia Jackson\u003c/a>, the New Orleans-born singer widely regarded as the Queen of Gospel, who prompted King to go off-script on Aug. 28, 1963 at the March on Washington. When King was two-thirds of the way into his pre-written delivery, as Jones has recalled in various interviews, she shouted out from behind the podium, “Tell ’em about the dream, Martin.” King moved aside his script and began to improvise the speech’s most iconic passage, and that dream became synonymous with the civil rights movement as we know it today.\u003c/p>\n\u003cp>https://youtu.be/KxlOlynG6FY\u003c/p>\n\u003cp>That seemingly minute yet crucial moment in our nation’s history captivated \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a> founder and violinist David Harrington, who reached out to Jones after learning about it on the 50th anniversary of the “I Have a Dream” speech in 2013.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m really interested in these pivotal details that kind of shape things,” says Harrington, when I meet him at Kronos Quartet’s Sunset District headquarters. He’s just finished a rehearsal for \u003cem>Peace Be Till\u003c/em>, a new piece based on that historic moment in Washington, D.C., composed by the young, Oakland-based musician \u003ca href=\"http://zacharyjameswatkins.com/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Zachary James Watkins\u003c/a>, to be debuted at \u003ca href=\"https://www.carnegiehall.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Carnegie Hall\u003c/a> in New York.\u003c/p>\n\u003cfigure id=\"attachment_13819432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819432\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg\" alt=\"Zachary James Watkins (left) and David Harrington at Kronos Quartet's rehearsal for 'Peace Be Till.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zachary James Watkins (left) and David Harrington at Kronos Quartet’s rehearsal for ‘Peace Be Till.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After learning about Mahalia Jackson’s exhortation to King, Harrington looked up Jones, who is now 87 years old and lives in Palo Alto. (“I Have a Dream” wasn’t the only crucial role Jones has played in history: He was the first African-American partner at a Wall Street investment bank, and he coordinated legal counsel for King in a landmark Supreme Court case — \u003cem>Sullivan vs. the New York Times\u003c/em> — that came to define our current understanding of libel.) These days, Jones is a visiting professor at the University of San Francisco and a scholar-in-residence at Stanford.\u003c/p>\n\u003cp>“Very quickly, he and I were talking, and basically he told me the whole story,” says Harrington. “He mentioned that he’d grown up wanting to be a clarinetist, and he studied at Julliard. When you start adding things up, Martin Luther King surrounded himself with musicians.”\u003c/p>\n\u003cp>Fast forward to 2017, when Carnegie Hall invited Kronos Quartet to participate in a festival, \u003cem>The ’60s: The Years that Changed America\u003c/em>. Harrington had been thinking of a way to tell the story of Martin Luther King, Jr. and Mahalia Jackson through music. Watkins, best known for his experimental duo \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/the-time-traversing-sound-of-oaklands-black-spirituals/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Spirituals\u003c/a>, turned out to be the perfect composer for the challenge. With his academic training and DIY approach, his work with Black Spirituals is \u003ca href=\"https://www.nytimes.com/2015/09/24/arts/music/review-black-spirituals-a-duo-that-defies-categories.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed\u003c/a> for channeling African-American legacies of music-as-resistance through visceral, emotive improvisation.\u003c/p>\n\u003cp>https://youtu.be/84nQjR9rQho\u003c/p>\n\u003cp>After Harrington tapped him for the project, Watkins, too, became obsessed with that significant interaction between King and Mahalia Jackson. “What is it that Mahalia sensed at that moment? What kinds of skills or qualities does it take to have the instinct to know this timing?” Watkins says, snapping his fingers emphatically. “Timing is part of the art we do. And it’s bigger than performance in this case. It’s about the timing of our consciousness, so she’s a really heavy person in that moment. That’s the weight this piece is attempting to explore.”\u003c/p>\n\u003cp>https://youtu.be/-t99yQQUi4g\u003c/p>\n\u003cp>\u003cem>Peace Be Till\u003c/em> features Watkins’ original score for Kronos Quartet, electronic sound design elements, and audio from his two-hour sit down with Jones at Women’s Audio Mission, where he interviewed him about his first time meeting King and the moments leading up to “I Have a Dream.” Watkins juxtaposes these personal anecdotes with Jones reading from King’s seminal text “\u003ca href=\"https://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html\" target=\"_blank\" rel=\"noopener noreferrer\">Letter from a Birmingham Jail\u003c/a>,” which doesn’t mince words in calling out systemic racism and white moderates’ complacency in injustice.\u003c/p>\n\u003cp>The musicality of speech and how it can move people on an emotional level is another important line of inquiry for Watkins in \u003cem>Peace Be Till\u003c/em>. “Never had I heard any human being on two legs with a voice — never, never, ever had I heard anyone speak like that! It was mesmerizing! It was spellbinding,” says Jones of his first impression of King in the interview snippet Watkins uses in the piece. The same could be said about Jones’ own style of speaking: Carefully measured, yet emphatic when it needs to be, with a vigorous delivery that resounds from the chest.\u003c/p>\n\u003cfigure id=\"attachment_13819461\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-800x1136.jpg\" alt=\"Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-520x738.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images for PTTOW!)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a big part of the early stage of the piece: Listening and trying to gather musical ideas from [Clarence’s] voice and the tempo of his speaking,” says Watkins.\u003c/p>\n\u003cp>In the section rehearsed from the piece, Watkins chops up Jones’ narration out of chronological order, splicing his memories with drone-like humming, celestial electronics, and booming echoes that create a dreamlike, subliminally emotional effect. Snippets of singing well up throughout like the beginnings of, well, a black spiritual.\u003c/p>\n\u003cp>“Basically he’s talking about how his training in music and his own musical sensibility — how that was a resource for working with Dr. King, especially as a speech writer,” the composer says. “I really appreciated that information because that’s actually very deep, what he’s saying there.”\u003c/p>\n\u003cp>He elaborates: “It’s almost mystical how we are moved by speaking and speakers. And there’s also something that we can understand about oration and congregating and preaching. The voice — pretty powerful.” (Jones poignantly describes King’s speeches as “a symphony of social justice” in \u003cem>Peace Be Till\u003c/em>.)\u003c/p>\n\u003cp>Field recordings Watkins took of chains clanging — evoking the passage of the enslaved from Africa — and the recent Berkeley alt-right protests and counter-protests tether \u003cem>Peace Be Till\u003c/em> to the present as well as America’s inescapable history of subjugation and oppression. But its emphasis is on a historical figure who, perhaps like no other in recent history, united the masses to mobilize for justice — something that’s achingly missing from our deeply divided political moment.\u003c/p>\n\u003cp>One remedy for that? Listening, says Watkins.\u003c/p>\n\u003cp>“I think that we could all listen better,” he says. “That type of hunger to hear and to experience through patience and attentive listening can actually affect your energy, your decision-making, and just your engagement with the world.”\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>More on Kronos Quartet can be found \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-800x450.jpg\" alt=\"The civil rights leader Martin Luther King waves to supporters on Aug. 28, 1963 at the March on Washington.\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-176910681-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "'Tell 'Em About the Dream': Kronos Quartet Explores Moment MLK Went Off-Script | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Martin Luther King may have never delivered his “\u003ca href=\"https://www.archives.gov/files/press/exhibits/dream-speech.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">I Have a Dream\u003c/a>” speech if it weren’t for two musicians.\u003c/p>\n\u003cp>One of them is King’s personal lawyer and speechwriter, \u003ca href=\"https://www.npr.org/2013/08/27/214224111/clarence-b-jones-a-guiding-hand-behind-i-have-a-dream\" target=\"_blank\" rel=\"noopener noreferrer\">Clarence Jones\u003c/a>, a classically trained clarinetist. Upon meeting King, Jones agreed to join his mission in part because of the young minister’s oratory abilities, particularly the musical qualities of his booming voice. Eventually, Jones’ notes from his conversations with King — about segregation, discrimination, financial disenfranchisement, and voter suppression — made their way into the first several paragraphs of “I Have a Dream.”\u003c/p>\n\u003cp>But it was \u003ca href=\"https://en.wikipedia.org/wiki/Mahalia_Jackson\" target=\"_blank\" rel=\"noopener noreferrer\">Mahalia Jackson\u003c/a>, the New Orleans-born singer widely regarded as the Queen of Gospel, who prompted King to go off-script on Aug. 28, 1963 at the March on Washington. When King was two-thirds of the way into his pre-written delivery, as Jones has recalled in various interviews, she shouted out from behind the podium, “Tell ’em about the dream, Martin.” King moved aside his script and began to improvise the speech’s most iconic passage, and that dream became synonymous with the civil rights movement as we know it today.\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/KxlOlynG6FY'\n title='//www.youtube.com/embed/KxlOlynG6FY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That seemingly minute yet crucial moment in our nation’s history captivated \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a> founder and violinist David Harrington, who reached out to Jones after learning about it on the 50th anniversary of the “I Have a Dream” speech in 2013.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m really interested in these pivotal details that kind of shape things,” says Harrington, when I meet him at Kronos Quartet’s Sunset District headquarters. He’s just finished a rehearsal for \u003cem>Peace Be Till\u003c/em>, a new piece based on that historic moment in Washington, D.C., composed by the young, Oakland-based musician \u003ca href=\"http://zacharyjameswatkins.com/bio.html\" target=\"_blank\" rel=\"noopener noreferrer\">Zachary James Watkins\u003c/a>, to be debuted at \u003ca href=\"https://www.carnegiehall.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Carnegie Hall\u003c/a> in New York.\u003c/p>\n\u003cfigure id=\"attachment_13819432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819432\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg\" alt=\"Zachary James Watkins (left) and David Harrington at Kronos Quartet's rehearsal for 'Peace Be Till.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ZJW-x-David-Harrington-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zachary James Watkins (left) and David Harrington at Kronos Quartet’s rehearsal for ‘Peace Be Till.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After learning about Mahalia Jackson’s exhortation to King, Harrington looked up Jones, who is now 87 years old and lives in Palo Alto. (“I Have a Dream” wasn’t the only crucial role Jones has played in history: He was the first African-American partner at a Wall Street investment bank, and he coordinated legal counsel for King in a landmark Supreme Court case — \u003cem>Sullivan vs. the New York Times\u003c/em> — that came to define our current understanding of libel.) These days, Jones is a visiting professor at the University of San Francisco and a scholar-in-residence at Stanford.\u003c/p>\n\u003cp>“Very quickly, he and I were talking, and basically he told me the whole story,” says Harrington. “He mentioned that he’d grown up wanting to be a clarinetist, and he studied at Julliard. When you start adding things up, Martin Luther King surrounded himself with musicians.”\u003c/p>\n\u003cp>Fast forward to 2017, when Carnegie Hall invited Kronos Quartet to participate in a festival, \u003cem>The ’60s: The Years that Changed America\u003c/em>. Harrington had been thinking of a way to tell the story of Martin Luther King, Jr. and Mahalia Jackson through music. Watkins, best known for his experimental duo \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/the-time-traversing-sound-of-oaklands-black-spirituals/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Spirituals\u003c/a>, turned out to be the perfect composer for the challenge. With his academic training and DIY approach, his work with Black Spirituals is \u003ca href=\"https://www.nytimes.com/2015/09/24/arts/music/review-black-spirituals-a-duo-that-defies-categories.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed\u003c/a> for channeling African-American legacies of music-as-resistance through visceral, emotive improvisation.\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/84nQjR9rQho'\n title='//www.youtube.com/embed/84nQjR9rQho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Harrington tapped him for the project, Watkins, too, became obsessed with that significant interaction between King and Mahalia Jackson. “What is it that Mahalia sensed at that moment? What kinds of skills or qualities does it take to have the instinct to know this timing?” Watkins says, snapping his fingers emphatically. “Timing is part of the art we do. And it’s bigger than performance in this case. It’s about the timing of our consciousness, so she’s a really heavy person in that moment. That’s the weight this piece is attempting to explore.”\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/-t99yQQUi4g'\n title='//www.youtube.com/embed/-t99yQQUi4g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Peace Be Till\u003c/em> features Watkins’ original score for Kronos Quartet, electronic sound design elements, and audio from his two-hour sit down with Jones at Women’s Audio Mission, where he interviewed him about his first time meeting King and the moments leading up to “I Have a Dream.” Watkins juxtaposes these personal anecdotes with Jones reading from King’s seminal text “\u003ca href=\"https://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html\" target=\"_blank\" rel=\"noopener noreferrer\">Letter from a Birmingham Jail\u003c/a>,” which doesn’t mince words in calling out systemic racism and white moderates’ complacency in injustice.\u003c/p>\n\u003cp>The musicality of speech and how it can move people on an emotional level is another important line of inquiry for Watkins in \u003cem>Peace Be Till\u003c/em>. “Never had I heard any human being on two legs with a voice — never, never, ever had I heard anyone speak like that! It was mesmerizing! It was spellbinding,” says Jones of his first impression of King in the interview snippet Watkins uses in the piece. The same could be said about Jones’ own style of speaking: Carefully measured, yet emphatic when it needs to be, with a vigorous delivery that resounds from the chest.\u003c/p>\n\u003cfigure id=\"attachment_13819461\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-800x1136.jpg\" alt=\"Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/GettyImages-620166236-520x738.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clarence B. Jones attends PTTOW! SESSIONS and WORLDZ Kickoff Party at Spring Place on November 1, 2016 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images for PTTOW!)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a big part of the early stage of the piece: Listening and trying to gather musical ideas from [Clarence’s] voice and the tempo of his speaking,” says Watkins.\u003c/p>\n\u003cp>In the section rehearsed from the piece, Watkins chops up Jones’ narration out of chronological order, splicing his memories with drone-like humming, celestial electronics, and booming echoes that create a dreamlike, subliminally emotional effect. Snippets of singing well up throughout like the beginnings of, well, a black spiritual.\u003c/p>\n\u003cp>“Basically he’s talking about how his training in music and his own musical sensibility — how that was a resource for working with Dr. King, especially as a speech writer,” the composer says. “I really appreciated that information because that’s actually very deep, what he’s saying there.”\u003c/p>\n\u003cp>He elaborates: “It’s almost mystical how we are moved by speaking and speakers. And there’s also something that we can understand about oration and congregating and preaching. The voice — pretty powerful.” (Jones poignantly describes King’s speeches as “a symphony of social justice” in \u003cem>Peace Be Till\u003c/em>.)\u003c/p>\n\u003cp>Field recordings Watkins took of chains clanging — evoking the passage of the enslaved from Africa — and the recent Berkeley alt-right protests and counter-protests tether \u003cem>Peace Be Till\u003c/em> to the present as well as America’s inescapable history of subjugation and oppression. But its emphasis is on a historical figure who, perhaps like no other in recent history, united the masses to mobilize for justice — something that’s achingly missing from our deeply divided political moment.\u003c/p>\n\u003cp>One remedy for that? Listening, says Watkins.\u003c/p>\n\u003cp>“I think that we could all listen better,” he says. “That type of hunger to hear and to experience through patience and attentive listening can actually affect your energy, your decision-making, and just your engagement with the world.”\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>More on Kronos Quartet can be found \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter and music producer (\u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone\u003c/a>) John Vanderslice returns to the show this week as co-host; he’s such a warm presence on the air, and he knows the local music scene cold. And don’t miss an event we didn’t get to — John’s hosting a party to celebrate Tiny Telephone’s 20th anniversary, with food, beer and music by Toro y Moi, Astronauts Etc. and others. \u003ca href=\"https://www.facebook.com/johnvanderslicemusic/photos/a.456020247811602.1073741826.115335001880130/1490638474349769/?type=1&theater\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>Now here’s the Do List:\u003c/p>\n\u003cp>\u003cstrong>Oct. 8–13:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWIy\" target=\"_blank\" rel=\"noopener\">Panamanian pianist Danilo Perez pays tribute to the genius of Thelonious Monk on the composer’s 100th birthday\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–15:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWII\" target=\"_blank\" rel=\"noopener\"> Oscar contenders aplenty at the Mill Valley Film Fest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VWJb\" target=\"_blank\" rel=\"noopener\">Poetry and chamber music tell a story about gentrification in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 5–14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWK0\" target=\"_blank\" rel=\"noopener\">Where poetry, fiction, non-fiction, authors and drinking all mix beautifully\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 6–8: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWKt\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass returns with its much needed spirit of generosity and plenty of banjos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg\" alt=\"Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9880-e1507137991211-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indie music producer John Vanderslice cohosts the Do List for Oct. 6, 2017 with KQED‘s Cy Musiker. \u003ccite>(Photo: Howard Gelman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Being shot and paralyzed from the waist down couldn’t stop \u003ca href=\"http://www.weslawhitfield.com/pages/info/bio.html\" target=\"_blank\" rel=\"noopener\">Wesla Whitfield’s\u003c/a> singing career. But after almost 50 years, health problems of another sort have forced the veteran cabaret singer to step away from the microphone.\u003c/p>\n\u003cp>Whitfield’s husband and longtime musical collaborator Mike Greensill announced her decision to retire from the stage in an email sent Wednesday morning, explaining that her voice has been affected by medication that the 69-year-old singer takes to deal with a persistent infection.\u003c/p>\n\u003cp>“She’s just not happy with her ability to sing up to her standards, so she has decided, reluctantly, that it’s time to hang it all up, concentrate on getting better and not have to worry about the energy needed for performing,” Greensill wrote.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY10Ew7RjKE\u003c/p>\n\u003cp>Born in Santa Maria, Whitfield began her singing career after she graduated from San Francisco Stage College. For four years in the mid ’70s, she sang soprano for the San Francisco Opera’s chorus. But after spending too many nights in the city’s sleazy piano bars, she fell in love with the Great American Songbook and gave up on her opera career. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She always said opera was about the voice, while the songs from the Great American Songbook were about the story,” Greensill says. “She always liked telling the story more than showing off.”\u003c/p>\n\u003cp>Whitfield then landed a job as a singing cocktail waitress, and performed at different venues until 1977, when she was shot. In an interview with the \u003ca href=\"http://articles.latimes.com/1999/apr/18/news/mn-28533\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, she said she was leaving her San Francisco rehearsal space when she was accosted by two boys. She walked away from them, and one of them pulled out a gun and shot her in the back. \u003c/p>\n\u003cp>“I heard a little popping sound,” she told the \u003cem>Times\u003c/em>. “I turned and fell down.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dqBi84-30KI\u003c/p>\n\u003cp>The shooting left her paralyzed from the waist down, confining her to a wheelchair for the rest of her life. She was 29.\u003c/p>\n\u003cp>Thinking her singing days were over, she went back to school for computer programming. But she was depressed, and what helped was returning to the stage. As she worked to regain her mobility, she began singing at small clubs around town. \u003c/p>\n\u003cp>It was at one of those small clubs where Greensill saw her. After her set, he offered to arrange songs and accompany her on piano. They started working together, and before long they were married. Both Whitfield and Greensill had been married twice before, but Greensill notes that when he met Whitfield, they had matured. Their marriage has lasted 30 years.\u003c/p>\n\u003cp>“Also, being a diva’s accompanist is great training for marriage,” Greensill says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxKvOhCAmHM\u003c/p>\n\u003cp>The combination of Whitfield’s voice and Greensill’s arrangements led to better and better gigs. Shows at the White House and Carnegie Hall, symphonic performances with Michael Tilson Thomas conducting, and even appearances on TV shows such as \u003cem>Regis and Kelly\u003c/em> and \u003cem>CBS Sunday Morning.\u003c/em> Before her retirement, the duo recorded and released 22 albums.\u003c/p>\n\u003cp>Greensill says the announcement was sad for Whitfield, but also a relief. The couple live in the North Bay and own Silo’s, a music club in Napa where they perform often. Whitfield didn’t like singing in front of audiences when her voice wasn’t in shape, and now Greensill says she doesn’t have that pressure on her anymore.\u003c/p>\n\u003cp>But Greensill also admits that there’s a possibility that Whitfield could get better and return to the stage.\u003c/p>\n\u003cp>“We all know Sinatra retired three times before he actually stopped singing,” Greensill says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She always said opera was about the voice, while the songs from the Great American Songbook were about the story,” Greensill says. “She always liked telling the story more than showing off.”\u003c/p>\n\u003cp>Whitfield then landed a job as a singing cocktail waitress, and performed at different venues until 1977, when she was shot. In an interview with the \u003ca href=\"http://articles.latimes.com/1999/apr/18/news/mn-28533\" target=\"_blank\" rel=\"noopener\">\u003cem>Los Angeles Times\u003c/em>\u003c/a>, she said she was leaving her San Francisco rehearsal space when she was accosted by two boys. She walked away from them, and one of them pulled out a gun and shot her in the back. \u003c/p>\n\u003cp>“I heard a little popping sound,” she told the \u003cem>Times\u003c/em>. “I turned and fell down.” \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/dqBi84-30KI'\n title='//www.youtube.com/embed/dqBi84-30KI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shooting left her paralyzed from the waist down, confining her to a wheelchair for the rest of her life. She was 29.\u003c/p>\n\u003cp>Thinking her singing days were over, she went back to school for computer programming. But she was depressed, and what helped was returning to the stage. As she worked to regain her mobility, she began singing at small clubs around town. \u003c/p>\n\u003cp>It was at one of those small clubs where Greensill saw her. After her set, he offered to arrange songs and accompany her on piano. They started working together, and before long they were married. Both Whitfield and Greensill had been married twice before, but Greensill notes that when he met Whitfield, they had matured. Their marriage has lasted 30 years.\u003c/p>\n\u003cp>“Also, being a diva’s accompanist is great training for marriage,” Greensill says.\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/pxKvOhCAmHM'\n title='//www.youtube.com/embed/pxKvOhCAmHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The combination of Whitfield’s voice and Greensill’s arrangements led to better and better gigs. Shows at the White House and Carnegie Hall, symphonic performances with Michael Tilson Thomas conducting, and even appearances on TV shows such as \u003cem>Regis and Kelly\u003c/em> and \u003cem>CBS Sunday Morning.\u003c/em> Before her retirement, the duo recorded and released 22 albums.\u003c/p>\n\u003cp>Greensill says the announcement was sad for Whitfield, but also a relief. The couple live in the North Bay and own Silo’s, a music club in Napa where they perform often. Whitfield didn’t like singing in front of audiences when her voice wasn’t in shape, and now Greensill says she doesn’t have that pressure on her anymore.\u003c/p>\n\u003cp>But Greensill also admits that there’s a possibility that Whitfield could get better and return to the stage.\u003c/p>\n\u003cp>“We all know Sinatra retired three times before he actually stopped singing,” Greensill says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc \u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"californiareport": {
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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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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"meta": {
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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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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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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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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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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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"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. ",
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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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"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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
},
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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": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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