Cumbia!@Frost Turns Up the Volume on Afro-Latin Rhythms
'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?
Fantastic Negrito, Kronos Quartet and Zakir Hussain Slated for Stanford Live Concerts This Summer
No Visa Necessary to Hear Music of 'Banned Countries' with Kronos Quartet
On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018
Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock
A Conductor Plays Politics and Leads a Great Orchestra
Taylor Mac's American History in Feathers and Sky-High Heels
Samantha Bee Makes Political Comedy with a Feminist Edge
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"content": "\u003cp>Born in Colombia and embraced across Latin America, cumbia is the friendliest of African diaspora dance rhythms. It’s infinitely malleable \u003cspan style=\"font-weight: 400\">—\u003c/span> suitable for novice and expert dancers alike \u003cspan style=\"font-weight: 400\">— \u003c/span>and has adapted to local conditions wherever it has landed, from the Andean heights of Peru and Mexico’s Oaxaca Valley to the glittering nightclubs of Los Angeles.\u003c/p>\n\u003cp>It’s a foundational groove at Latin music events across the Bay Area. On July 21, Stanford Live presents \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Cumbia!@Frost\u003c/a>, a triple bill that cogently illustrates why the multifarious form is once again in the midst of a popular resurgence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4PSMrMHLjf4\u003c/p>\n\u003cp>Joining Colombian standard-bearers Vilma Diaz y La Sonora is the Los Angeles electronica-laced band El Feeling, plus Mission District rising star La Doña and DJ Wonway Posibul. The event is designed “to highlight cumbia from different angles,” says Bogotá-born Albert Montanez, who is the Stanford Live producer of artistic programs.\u003c/p>\n\u003cp>A confluence of African, Spanish and Indigenous influences, cumbia was a folkloric dance on Colombia’s Atlantic coast for centuries before emerging as a pervasive form of popular music in the 1950s. While Afro-Cuban and Nuyorican salsa eclipsed cumbia in the 1970s, particularly at home in Colombia, various iterations of the style continued to thrive around Latin America, where its easily danceable \u003cem>chu-chucu-chu \u003c/em>groove made it ideal for multigenerational celebrations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X_FZE8vblJE\u003c/p>\n\u003cp>Shakira helped spark a resurgence with her chart-topping 2006 cumbia-meets-salsa hit “Hips Don’t Lie,” which she performed at the closing of the World Cup, complete with a “video showing what cumbia looks like in the streets of Colombia,” Montanez says. “Now you have all these incredible artists, many Colombian, playing these variations of cumbia, with \u003ca href=\"https://www.youtube.com/watch?v=VBcs8DZxBGc\">Karol G’s hip-hop cumbia\u003c/a> and \u003ca href=\"https://youtu.be/H6SZuAcqeW8?si=iQgd64MiheRfQbeD\">Bomba Estéreo’s psychedelic cumbia\u003c/a>.”\u003c/p>\n\u003cp>Vilma Diaz y La Sonora is a “classic, iconic ensemble that put cumbia on the international map,” Montanez says. “This is a reinterpretation of the original group from the early ’60s,” led by Medellín-reared Diaz, who trained as a nurse before she started performing with the group in the late ’80s. She’s fronted the band intermittently for decades, compiling a catalog of hits such as “\u003ca href=\"https://youtu.be/auG2pj0Mssw?si=rfv3USX0lTyyMGfA\">El Desamor\u003c/a>,” “\u003ca href=\"https://youtu.be/x3bp4FpBiIc?si=0vOx5p4PsO63rT_u\">Ya Para Qué\u003c/a>” and “\u003ca href=\"https://youtu.be/Uj4Rude1ru4?si=pkKpEl6khXJleOkO\">Escándalo\u003c/a>.”\u003c/p>\n\u003cp>One reason for La Sonora’s enduring popularity is the group pays attention to what its fans want to hear, “like a song we did 31 years ago that had rap, but now that segment is reggaetón,” says Diaz, speaking in Spanish, during a recent phone conversation from Los Angeles, the band’s co-home base along with Medellín. “We adapt to what’s current. Reggaeton, rock, hip-hop, rock en español, even one flamenco. The rhythm hasn’t changed. The essence is recognizable.” [aside postid='arts_13900272']\u003c/p>\n\u003cp>El Feeling is a recent addition to the teeming LA cumbia scene, artfully deploying sampling and electronic instruments. And La Doña, who recently announced the Sept. 6 release date of her new album, \u003cem>Los Altos De La Soledad\u003c/em>, has played cumbia since she was a kid performing with her family’s band, \u003ca href=\"https://youtu.be/lg3yPyfEwOo?si=AVvRjwgo1sbMcBNA\">La Familia Peña-Govea\u003c/a>. Mexican cumbia is one of many threads she weaves into her original music these days, which also draws on corridos, bolero, hyphy, son jarocho and reggaeton.\u003c/p>\n\u003cp>If the Bay Area has a cumbia center, it’s Oakland, where the \u003ca href=\"https://www.visitoakland.com/event/cumbia-en-la-fruitvale/32723/\">Cumbia en La Fruitvale\u003c/a> series continues on July 20. Oakland’s seven-piece psychedelic cumbia band Ritmos Tropicosmos represents a new generation picking up the mantle. They celebrate the release of their debut album \u003cem>La Vida es Pa’ Vivir\u003c/em> at the \u003ca href=\"https://www.instagram.com/p/C9QFCrfPrj8/\">Ivy Room July 27\u003c/a> with LA vallenato-cumbia band Very Be Careful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pxs1uvPVqzs\u003c/p>\n\u003cp>That generational dynamic is a major factor in cumbia’s staying power. Young musicians might not set out to play it, but they find their way to cumbia. That’s what happened to Oaxacan-American guitarist and accordionist Marco Polo Santiago, who founded La Misa Negra in Oakland about 15 years ago.\u003c/p>\n\u003cp>“Southern Mexico is a hotspot for cumbia, and I was indoctrinated into it as a kid, though growing up in LA I got into hip-hop and metal,” he says. “I rediscovered cumbia when I was much older listening to the music my parents listened to and finding out its Colombian roots, which led to creating La Misa Negra, a throwback to that Colombian big-band sound.” [aside postid='arts_13961014']\u003c/p>\n\u003cp>“The thing about cumbia is that it’s super popular in the way no other Latin American genre is,” he adds. “So many different countries have their own version or adopt bands from other countries.”\u003c/p>\n\u003cp>For Montanez, Cumbia!@Frost is all about bringing cumbia into the foreground. Vilma Diaz y La Sonora perform regularly around the Bay Area, but many of the shows aren’t well publicized. If you’re not already in the know, you’ll probably miss them. Stanford Live is using the music to reach out to “Latino communities throughout the Bay Area, from Santa Cruz to San Francisco,” he says, including community partners in East Palo Alto.\u003c/p>\n\u003cp>“We have a dance workshop and cumbia class before the music,” he continues. “This is the first time Stanford Live and Stanford is producing an event like this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cumbia!@Frost takes place at Stanford University’s Frost Amphitheater on July 21 at 5 pm. \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Tickets start at $40; details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Born in Colombia and embraced across Latin America, cumbia is the friendliest of African diaspora dance rhythms. It’s infinitely malleable \u003cspan style=\"font-weight: 400\">—\u003c/span> suitable for novice and expert dancers alike \u003cspan style=\"font-weight: 400\">— \u003c/span>and has adapted to local conditions wherever it has landed, from the Andean heights of Peru and Mexico’s Oaxaca Valley to the glittering nightclubs of Los Angeles.\u003c/p>\n\u003cp>It’s a foundational groove at Latin music events across the Bay Area. On July 21, Stanford Live presents \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Cumbia!@Frost\u003c/a>, a triple bill that cogently illustrates why the multifarious form is once again in the midst of a popular resurgence.\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/4PSMrMHLjf4'\n title='//www.youtube.com/embed/4PSMrMHLjf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joining Colombian standard-bearers Vilma Diaz y La Sonora is the Los Angeles electronica-laced band El Feeling, plus Mission District rising star La Doña and DJ Wonway Posibul. The event is designed “to highlight cumbia from different angles,” says Bogotá-born Albert Montanez, who is the Stanford Live producer of artistic programs.\u003c/p>\n\u003cp>A confluence of African, Spanish and Indigenous influences, cumbia was a folkloric dance on Colombia’s Atlantic coast for centuries before emerging as a pervasive form of popular music in the 1950s. While Afro-Cuban and Nuyorican salsa eclipsed cumbia in the 1970s, particularly at home in Colombia, various iterations of the style continued to thrive around Latin America, where its easily danceable \u003cem>chu-chucu-chu \u003c/em>groove made it ideal for multigenerational celebrations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X_FZE8vblJE'\n title='//www.youtube.com/embed/X_FZE8vblJE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shakira helped spark a resurgence with her chart-topping 2006 cumbia-meets-salsa hit “Hips Don’t Lie,” which she performed at the closing of the World Cup, complete with a “video showing what cumbia looks like in the streets of Colombia,” Montanez says. “Now you have all these incredible artists, many Colombian, playing these variations of cumbia, with \u003ca href=\"https://www.youtube.com/watch?v=VBcs8DZxBGc\">Karol G’s hip-hop cumbia\u003c/a> and \u003ca href=\"https://youtu.be/H6SZuAcqeW8?si=iQgd64MiheRfQbeD\">Bomba Estéreo’s psychedelic cumbia\u003c/a>.”\u003c/p>\n\u003cp>Vilma Diaz y La Sonora is a “classic, iconic ensemble that put cumbia on the international map,” Montanez says. “This is a reinterpretation of the original group from the early ’60s,” led by Medellín-reared Diaz, who trained as a nurse before she started performing with the group in the late ’80s. She’s fronted the band intermittently for decades, compiling a catalog of hits such as “\u003ca href=\"https://youtu.be/auG2pj0Mssw?si=rfv3USX0lTyyMGfA\">El Desamor\u003c/a>,” “\u003ca href=\"https://youtu.be/x3bp4FpBiIc?si=0vOx5p4PsO63rT_u\">Ya Para Qué\u003c/a>” and “\u003ca href=\"https://youtu.be/Uj4Rude1ru4?si=pkKpEl6khXJleOkO\">Escándalo\u003c/a>.”\u003c/p>\n\u003cp>One reason for La Sonora’s enduring popularity is the group pays attention to what its fans want to hear, “like a song we did 31 years ago that had rap, but now that segment is reggaetón,” says Diaz, speaking in Spanish, during a recent phone conversation from Los Angeles, the band’s co-home base along with Medellín. “We adapt to what’s current. Reggaeton, rock, hip-hop, rock en español, even one flamenco. The rhythm hasn’t changed. The essence is recognizable.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>El Feeling is a recent addition to the teeming LA cumbia scene, artfully deploying sampling and electronic instruments. And La Doña, who recently announced the Sept. 6 release date of her new album, \u003cem>Los Altos De La Soledad\u003c/em>, has played cumbia since she was a kid performing with her family’s band, \u003ca href=\"https://youtu.be/lg3yPyfEwOo?si=AVvRjwgo1sbMcBNA\">La Familia Peña-Govea\u003c/a>. Mexican cumbia is one of many threads she weaves into her original music these days, which also draws on corridos, bolero, hyphy, son jarocho and reggaeton.\u003c/p>\n\u003cp>If the Bay Area has a cumbia center, it’s Oakland, where the \u003ca href=\"https://www.visitoakland.com/event/cumbia-en-la-fruitvale/32723/\">Cumbia en La Fruitvale\u003c/a> series continues on July 20. Oakland’s seven-piece psychedelic cumbia band Ritmos Tropicosmos represents a new generation picking up the mantle. They celebrate the release of their debut album \u003cem>La Vida es Pa’ Vivir\u003c/em> at the \u003ca href=\"https://www.instagram.com/p/C9QFCrfPrj8/\">Ivy Room July 27\u003c/a> with LA vallenato-cumbia band Very Be Careful.\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/pxs1uvPVqzs'\n title='//www.youtube.com/embed/pxs1uvPVqzs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That generational dynamic is a major factor in cumbia’s staying power. Young musicians might not set out to play it, but they find their way to cumbia. That’s what happened to Oaxacan-American guitarist and accordionist Marco Polo Santiago, who founded La Misa Negra in Oakland about 15 years ago.\u003c/p>\n\u003cp>“Southern Mexico is a hotspot for cumbia, and I was indoctrinated into it as a kid, though growing up in LA I got into hip-hop and metal,” he says. “I rediscovered cumbia when I was much older listening to the music my parents listened to and finding out its Colombian roots, which led to creating La Misa Negra, a throwback to that Colombian big-band sound.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The thing about cumbia is that it’s super popular in the way no other Latin American genre is,” he adds. “So many different countries have their own version or adopt bands from other countries.”\u003c/p>\n\u003cp>For Montanez, Cumbia!@Frost is all about bringing cumbia into the foreground. Vilma Diaz y La Sonora perform regularly around the Bay Area, but many of the shows aren’t well publicized. If you’re not already in the know, you’ll probably miss them. Stanford Live is using the music to reach out to “Latino communities throughout the Bay Area, from Santa Cruz to San Francisco,” he says, including community partners in East Palo Alto.\u003c/p>\n\u003cp>“We have a dance workshop and cumbia class before the music,” he continues. “This is the first time Stanford Live and Stanford is producing an event like this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cumbia!@Frost takes place at Stanford University’s Frost Amphitheater on July 21 at 5 pm. \u003ca href=\"https://live.stanford.edu/events/arts-festival-2024/cumbia-frost/?utm_source=facebook&utm_medium=partner&utm_campaign=slaf_cumbia_cumbiambacolombiana\">Tickets start at $40; details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "samora-pinderhughes-ybca-the-healing-project",
"title": "'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal?",
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"headTitle": "‘The Healing Project’ Asks: How Do We Survive in America? And How Do We Heal? | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jJvoxZpFavo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_12059349']\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'The Healing Project' Asks: How Do We Survive in America? And How Do We Heal? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.samorapinderhughes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Samora Pinderhughes\u003c/a> spent the past eight years exploring two questions.\u003c/p>\n\u003cp>“One is, how do we survive in America? And the other is how do we heal on a daily basis?” says the Bay Area-raised composer, pianist, filmmaker, singer and activist in an interview with KQED.\u003c/p>\n\u003cp>The result of his investigation is \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Healing Project\u003c/em>,\u003c/a> a kaleidoscopic, highly collaborative creative endeavor comprised of a \u003ca href=\"https://www.last.fm/music/Samora+Pinderhughes/GRIEF\" target=\"_blank\" rel=\"noopener noreferrer\">15-track album\u003c/a>; an exhibition at San Francisco’s \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA); an audio archive of interviews with more than 100 people across 15 states who’ve encountered structural violence like incarceration, detention or community shootings in their daily lives; and a concert series, including a performance \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">on Saturday, April 2, at Stanford Live\u003c/a>.\u003c/p>\n\u003cp>“The project as a whole is about the experience of dealing with American institutions that create poverty,” says Pinderhughes. “Because I think a lot of times, we don’t ask people about their experiences with these systems, like, ‘What’s your day to day reality? What are you facing? How do you heal yourself?'”\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/jJvoxZpFavo'\n title='//www.youtube.com/embed/jJvoxZpFavo'\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pinderhughes’ album, \u003cem>Grief\u003c/em>, is at the core of the project. The song “Holding Cell,” which vividly explores the two questions, imagines letters written by three inmates. One is on death row. Another is an undocumented immigrant in a detention center, and a third is in prison awaiting trial. While the chorus highlights the failures of the prison industrial complex across the spectrum (“Holding cell, holding cell / I can’t get well while you hold me”), the second verse points to a more healing future:\u003c/p>\n\u003cp>\u003cem>I want a quiet\u003cbr>\nlife In a flat\u003cbr>\nwith Church on a Sunday I got a voice\u003cbr>\nAnd I got a laugh\u003cbr>\nAnd I’ll use it one day\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Healing Project\u003c/em> involves dozens of collaborators, among them Pinderhughes’ own sister, the renowned flautist and vocalist \u003ca href=\"https://nyphil.org/about-us/artists/elena-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Elena Pinderhughes\u003c/a>. Elena is featured on the album and will appear in live performances alongside her brother; filmmaker \u003ca href=\"https://christianpadron.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Christian Padron\u003c/a> collaborated on several music videos based on songs from the new album and additional films; and weaving/fiber artist \u003ca href=\"https://ybca.org/artist/nnaemeka-emeka-ekwelum/\" target=\"_blank\" rel=\"noopener noreferrer\">Nnaemeka Ekwelum\u003c/a>‘s series of brilliantly-colored, intricate “Grief Cloths” adorn the walls of the YBCA exhibition.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“When I was weaving the ‘Grief Cloths,’ I wasn’t just thinking through my own personal grief,” says Ekwelum, who started making the flowing sculptures from plastic lacing, yarn and other materials in response to his father’s death in March 2021. “I was also thinking about the collective grief of this moment we’re all living through, with so much despair, dysfunction and structural damage.”\u003c/p>\n\u003cp>Ekwelum says the “Grief Cloths” not only embody personal and systemic grief, but also point towards healing.\u003c/p>\n\u003cp>“I’m coming into weaving from a place of anxiety or a deep sadness. And then by the end of the weaving process, I have this beautiful object that I’ve created from these difficult feelings being reflected back at me,” he says. “I’m modeling a way to transform pain into something beautiful that doesn’t eclipse the significance of what you’re feeling, but can memorialize it in a way where you can look at it and accept the lessons from it without feeling totally deflated or intimidated by what it is.”\u003c/p>\n\u003cfigure id=\"attachment_13911249\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54838_grief-cloths-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Grief Cloths’ by fiber artist Nnaemeka Ekwelum. Left-hand wall. ‘The Healing Project,’ installation view, Yerba Buena Center for the Arts, 2022. \u003ccite>(Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Healing Project\u003c/em> also includes significant contributions from incarcerated people.\u003c/p>\n\u003cp>A small, blue-colored room in the corner of YBCA’s galleries is devoted to select voices of the many people Pinderhughes interviewed for the project, heard via a looped audio feed. One is activist and artist \u003ca href=\"https://www.keithlamar.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith LaMar\u003c/a>, a death row inmate in Ohio, who’s been in solitary confinement for the past three decades. He is scheduled to be executed next year.\u003c/p>\n\u003cp>“The truly tragic element of my situation is that it’s not personal,” says LaMar (whose meditations can also be heard in a series of videos on social media featuring a sparse musical tracks by Pinderhughes). “This could happen to anybody.”\u003c/p>\n\u003cfigure id=\"attachment_13911248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911248 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/RS54839_pitt-panther-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of images by Pitt Panther. \u003ccite>(Courtesy Pitt Panther)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the hand-drawn, black-and-white works on paper by Pitt Panther, such as representations of George Floyd and Black Power symbols. Panther is currently serving a prison sentence in Virginia.\u003c/p>\n\u003cp>“Pitt Panther sends me these pieces through the mail,” says Pinderhughes. “He’s one of my favorite artists in the world.”\u003c/p>\n\u003cp>YBCA’s Chief of Program Meklit Hadero says one of the powerful things about \u003cem>The Healing Project\u003c/em> is that it centers real human lived experiences at the same time as exploring massive and seemingly intractable societal problems.\u003c/p>\n\u003cp>“A lot of times when we talk about these big systems, we talk about them from places of statistics or numbers or ways that feel so impersonal that things can get brushed aside,” Hadero says. “It becomes real when it’s about people.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>Pinderhughes hopes \u003cem>The Healing Project\u003c/em> will create space for people to come together to grieve, and mend, and ultimately imagine a more equitable future.\u003c/p>\n\u003cp>“It’s my attempt,” he says, “to communicate an abolitionist vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘The Healing Project’ runs through June 19 at Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/the-healing-project/\" target=\"_blank\" rel=\"noopener noreferrer\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Samora Pinderhughes performs with Elena Pinderhughes, Howard Wiley, Marcus Shelby, and Bobby Gonz at the Bing Studio at Stanford on Saturday, April 2. \u003ca href=\"https://live.stanford.edu/calendar/april-2022/samora-pinderhughes\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fantastic Negrito, Kronos Quartet and Zakir Hussain Slated for Stanford Live Concerts This Summer",
"headTitle": "Fantastic Negrito, Kronos Quartet and Zakir Hussain Slated for Stanford Live Concerts This Summer | KQED",
"content": "\u003cp>Bay Area music lovers can add more live shows to their summer calendars: Stanford Live announced today that it would resume in-person concerts at Frost Amphitheater on July 1. The new schedule of programming, developed in partnership with the San Francisco Symphony and SFJAZZ, kicks off with a concert by tabla master Zakir Hussain, saxophonist Joshua Redman and Stanford Jazz Workshop.\u003c/p>\n\u003cp>The lineup continues with three shows every week through August 7, and includes a variety of international musical genres, comedy and family-friendly events. Other highlights include a July 8 concert by blues-rock Grammy winner Fantastic Negrito, and several San Francisco Symphony performances led by music director Esa-Pekka Salonen, New Jersey Symphony Orchestra’s Xian Zhang and the Oakland Symphony’s Michael Morgan.\u003c/p>\n\u003cp>Innovative contemporary classical ensemble Kronos Quartet is set to perform with Ethio-jazz singer and composer Meklit on July 3. And on August 5, jazz vocalist Gregory Porter will perform with the Marcus Shelby Quintet and singer Tiffany Austin.\u003c/p>\n\u003cp>Tickets will go on sale to Stanford Live members on June 7 and will become available to the general public on June 11. August performances go on sale in July. \u003ca href=\"http://frostamphitheater.com\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area music lovers can add more live shows to their summer calendars: Stanford Live announced today that it would resume in-person concerts at Frost Amphitheater on July 1. The new schedule of programming, developed in partnership with the San Francisco Symphony and SFJAZZ, kicks off with a concert by tabla master Zakir Hussain, saxophonist Joshua Redman and Stanford Jazz Workshop.\u003c/p>\n\u003cp>The lineup continues with three shows every week through August 7, and includes a variety of international musical genres, comedy and family-friendly events. Other highlights include a July 8 concert by blues-rock Grammy winner Fantastic Negrito, and several San Francisco Symphony performances led by music director Esa-Pekka Salonen, New Jersey Symphony Orchestra’s Xian Zhang and the Oakland Symphony’s Michael Morgan.\u003c/p>\n\u003cp>Innovative contemporary classical ensemble Kronos Quartet is set to perform with Ethio-jazz singer and composer Meklit on July 3. And on August 5, jazz vocalist Gregory Porter will perform with the Marcus Shelby Quintet and singer Tiffany Austin.\u003c/p>\n\u003cp>Tickets will go on sale to Stanford Live members on June 7 and will become available to the general public on June 11. August performances go on sale in July. \u003ca href=\"http://frostamphitheater.com\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\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>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>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4LTz4OC3pA\u003c/p>\n\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\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>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"source": "Possible"
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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