Wayne Shorter, Legendary Jazz Composer and Saxophonist, Dies at 89
esperanza spalding Brings Wayne Shorter’s Opera to Life in Berkeley
San Jose Jazz Winter Fest Lights Up the South Bay with Music
All-Star Tributes to Wayne Shorter Continue After Strong Opening Night
Kennedy Center Names Its 2018 Honorees
Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel
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"content": "\u003cp>At the San Francisco Symphony’s season opener last fall, esperanza spalding mesmerized the audience with \u003ca href=\"https://www.kqed.org/arts/13904122/the-san-francisco-symphony-returns-in-grand-adventurous-style\" target=\"_blank\" rel=\"noopener noreferrer\">her performance of \u003cem>Gaia\u003c/em>\u003c/a>, her collaboration with Wayne Shorter. The 88-year-old saxophonist and jazz luminary composed a cinematic piece that spoke to humanity’s connection to the earth. And spalding, 37 years old and a musical force in her own right, sang her original lyrics with a captivating intensity and improbable range. She was on double duty, playing bass backed by the orchestra, saxophonist Ravi Coltrane, NEA Jazz Master and drummer Terri Lynne Carrington and pianist Leo Genovese. The synergy of musical greatness on stage was nothing short of magic.\u003c/p>\n\u003cp>The San Francisco Symphony performance showcased the fascinating, \u003ca href=\"https://datebook.sfchronicle.com/music/esperanza-spalding-helps-jazz-legend-wayne-shorter-fulfill-his-operatic-dream-with-iphigenia\" target=\"_blank\" rel=\"noopener noreferrer\">intergenerational musical conversations\u003c/a> Shorter and spalding have been having since they wrote \u003cem>Gaia \u003c/em>in 2013. And now, their collaboration has culminated in Shorter’s first opera \u003cem>…(Iphigenia)\u003c/em>, which gets its West Coast premiere at Cal Performances at UC Berkeley’s Zellerbach Hall this Saturday, Feb. 12.\u003c/p>\n\u003cfigure id=\"attachment_13909194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png\" alt=\"\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1020x596.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-768x449.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic-1536x897.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/2-Esp-and-Wayne-rehearsal-courtesy-Real-Magic.png 1897w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">esperanza spalding and Wayne Shorter in rehearsal. \u003ccite>(Real Magic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story reimagines an Ancient Greek play, Euripides’ \u003cem>Iphigenia in Aulis\u003c/em>. In the original story, King Agamemnon offers his daughter, Iphigenia, as a sacrifice to the goddess Artemis on the eve of battle. But in Shorter and spalding’s take, Iphigenia gets to tell the story and question its misogynistic and militaristic impulses. spalding wrote the libretto and plays the title character, who is fractured into six personas.\u003c/p>\n\u003cp>A host of stellar collaborators worked on \u003cem>…(Iphigenia)\u003c/em>, including a 28-piece chamber ensemble, the rhythm section of Shorter’s quartet, nine vocalists, a chorus of 10 singers, set designer Frank Gehry (yes, the \u003ca href=\"https://www.architecturaldigest.com/gallery/best-of-frank-gehry-slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">world-renowned architect\u003c/a>) and Obie-winning director Lileana Blain-Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://calperformances.org/events/2021-22/jazz/iphigenia-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details for \u003cem>…(Iphigenia)\u003c/em> can be found here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It was the opening night of what had originally been planned as a four-day residency for Wayne Shorter and his quartet at SFJAZZ, and the absence of the 85-year-old jazz legend, who canceled due to illness, hung in the air.\u003c/p>\n\u003cp>Then longtime friend Herbie Hancock got on the microphone.\u003c/p>\n\u003cp>“May Wayne have a happy, long life. This guy’s amazing—he’s been through so much health-wise, and now he’s in the middle of writing an opera!” Hancock said. “Can any of \u003cem>you\u003c/em> do that?”\u003c/p>\n\u003cp>And so the retooled residency—with Shorter’s enduring group of Brian Blade, Danilo Pérez and John Patitucci backing various luminaries influenced by the saxophonist and composer—became a celebration of Shorter’s music.\u003c/p>\n\u003cfigure id=\"attachment_13848119\" 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/Hancock.Blanchard-800x450.jpg\" alt=\"Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was no more evident then on Thursday night: Hancock (who’d suggested the show go on as a tribute when Shorter fell ill) traded keytar licks with trumpeter Terence Blanchard, dueted on piano with Pérez, and supplied atmospheric synthesizers with \u003ca href=\"https://www.ebony.com/entertainment/terrace-martin-influencers/#axzz450iZIILX\" rel=\"noopener\" target=\"_blank\">Kendrick Lamar collaborator\u003c/a> Terrace Martin on compositions like “Nefertiti” and “Visitor From Nowhere.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These were written decades, almost eras ago, right?” Hancock remarked from the stage. “They don’t \u003cem>sound\u003c/em> like that, though. Wayne’s compositions never get old—and we can’t say that about everybody.”\u003c/p>\n\u003cp>The tribute continues Friday night in a sold-out show with Branford Marsalis and Blanchard heading the group. But it’s the Saturday and Sunday shows, just on the cusp of selling out, which are grabbing more attention in my circles.\u003c/p>\n\u003cp>The reigning minister of Los Angeles’ new jazz explosion, Kamasi Washington, joins Martin to play Shorter’s music on Saturday night, while Sunday is given over to two local boys made very, very good: Joshua Redman and Ambrose Akinmusire. \u003c/p>\n\u003cp>And with any luck, Shorter himself will be back soon. As Hancock said Thursday night, “Wayne never, never, never gives up.”\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>\n\u003cp>\u003cem>The Wayne Shorter Legacy Celebration continues on Friday, Saturday and Sunday nights, Jan. 4–6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/wayne-shorter/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the opening night of what had originally been planned as a four-day residency for Wayne Shorter and his quartet at SFJAZZ, and the absence of the 85-year-old jazz legend, who canceled due to illness, hung in the air.\u003c/p>\n\u003cp>Then longtime friend Herbie Hancock got on the microphone.\u003c/p>\n\u003cp>“May Wayne have a happy, long life. This guy’s amazing—he’s been through so much health-wise, and now he’s in the middle of writing an opera!” Hancock said. “Can any of \u003cem>you\u003c/em> do that?”\u003c/p>\n\u003cp>And so the retooled residency—with Shorter’s enduring group of Brian Blade, Danilo Pérez and John Patitucci backing various luminaries influenced by the saxophonist and composer—became a celebration of Shorter’s music.\u003c/p>\n\u003cfigure id=\"attachment_13848119\" 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/Hancock.Blanchard-800x450.jpg\" alt=\"Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13848119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Hancock.Blanchard-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danilio Pérez, Terence Blanchard, Herbie Hancock, John Patitucci, Terrace Martin and Brian Blade (L–R) take a bow after performing the music of Wayne Shorter at SFJAZZ, Jan. 3, 2019. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That was no more evident then on Thursday night: Hancock (who’d suggested the show go on as a tribute when Shorter fell ill) traded keytar licks with trumpeter Terence Blanchard, dueted on piano with Pérez, and supplied atmospheric synthesizers with \u003ca href=\"https://www.ebony.com/entertainment/terrace-martin-influencers/#axzz450iZIILX\" rel=\"noopener\" target=\"_blank\">Kendrick Lamar collaborator\u003c/a> Terrace Martin on compositions like “Nefertiti” and “Visitor From Nowhere.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These were written decades, almost eras ago, right?” Hancock remarked from the stage. “They don’t \u003cem>sound\u003c/em> like that, though. Wayne’s compositions never get old—and we can’t say that about everybody.”\u003c/p>\n\u003cp>The tribute continues Friday night in a sold-out show with Branford Marsalis and Blanchard heading the group. But it’s the Saturday and Sunday shows, just on the cusp of selling out, which are grabbing more attention in my circles.\u003c/p>\n\u003cp>The reigning minister of Los Angeles’ new jazz explosion, Kamasi Washington, joins Martin to play Shorter’s music on Saturday night, while Sunday is given over to two local boys made very, very good: Joshua Redman and Ambrose Akinmusire. \u003c/p>\n\u003cp>And with any luck, Shorter himself will be back soon. As Hancock said Thursday night, “Wayne never, never, never gives up.”\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>\n\u003cp>\u003cem>The Wayne Shorter Legacy Celebration continues on Friday, Saturday and Sunday nights, Jan. 4–6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/wayne-shorter/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Kennedy Center annually recognizes artists who have had a uniquely wide and enduring impact on American culture. On Wednesday, the Washington, D.C. institution announced this year’s recipients of the Kennedy Center Honors: country singer \u003ca href=\"https://www.npr.org/2017/02/04/513315456/reba-mcentires-new-album-is-a-dedication-to-family-and-faith\">Reba McEntire\u003c/a>, jazz saxophonist and composer \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\">Wayne Shorter\u003c/a>, composer \u003ca href=\"https://www.npr.org/artists/15680178/philip-glass\">Philip Glass\u003c/a>, singer Cher, and the creative team behind the smash musical \u003ca href=\"https://www.npr.org/tags/475044603/hamilton\">\u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>This year’s awardees are a typically eclectic group of artists. McEntire has forty years of studio history behind her and a sitcom to boot. Along with being a progenitor of jazz fusion and a celebrated Miles Davis collaborator, Shorter is a sci-fi lover who \u003ca href=\"https://www.npr.org/2018/07/25/631999084/jazz-legend-wayne-shorter-announces-emanon-a-multiverse-inspired-triple-album\">writes comic books\u003c/a>. Glass is one of the most celebrated contemporary composers in the world, and is also a co-founder of Tibet House, a cultural institution that seeks to “ensure the survival of Tibetan civilization and culture.” Cher is, of course, an idiosyncratic and indelible pop totem (and gifted Twitter user). Her statement upon learning Wednesday’s news was typically offbeat: “When I was very young I saw \u003cem>Dumbo\u003c/em> and \u003cem>Cinderella\u003c/em> and knew then what I wanted to be and the path my life would take and here I am!”\u003c/p>\n\u003cp>The Kennedy Center is also celebrating the four-member team behind \u003cem>Hamilton\u003c/em>, one of this decade’s most striking artistic phenomenons: writer and actor \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\">Lin-Manuel Miranda\u003c/a>, director Thomas Kail, choreographer Andy Blankenbuehler and music director Alex Lacamoire. In its announcement, the Kennedy Center calls the musical “a transformative work that defies category.”\u003c/p>\n\u003cp>“Historically, the Kennedy Center Honors has celebrated lifetime achievement,” says the organization’s president\u003cstrong>,\u003c/strong> Deborah F. Rutter\u003cstrong>,\u003c/strong> in a statement. “In recognizing \u003cem>Hamilton\u003c/em> and its co-creators, the Kennedy Center is making an unprecedented statement about an unprecedented work — a work that transcends cultural boundaries and tells America’s story in a powerful and contemporary way.”\u003c/p>\n\u003cp>Notably, the central artistic vehicle in \u003cem>Hamilton\u003c/em>, rapping, is a medium only recently inducted into the Center’s honor rolls when, last year, LL Cool J became the \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541365592/ll-cool-j-to-become-kennedy-centers-first-hip-hop-honoree\">first hip-hop artist\u003c/a> bestowed a rainbowed medallion by the institution. In 2017, the Kennedy Center also named the rapper Q-Tip, of A Tribe Called Quest, as its \u003ca href=\"https://www.npr.org/2017/10/08/556546495/q-tips-new-kennedy-center-role-helps-institutionalize-hip-hop\">first\u003c/a> artistic director of hip-hop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, the White House reception that usually accompanies the Kennedy Center awards ceremony was suspended “to allow the honorees to celebrate without any political distraction,” White House press secretary Sarah Huckabee Sanders \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">explained\u003c/a> at the time. It was only the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">fourth time\u003c/a> in the awards’ 40-year history, the \u003ca href=\"https://www.nytimes.com/2017/08/19/us/politics/donald-and-melania-trump-to-skip-kennedy-center-honors.html\">\u003cem>New York\u003c/em> \u003cem>Times\u003c/em>\u003c/a> reported, that a sitting president had missed the event — and the first leader to do so \u003ca href=\"https://factba.se/topic/calendar\">without\u003c/a> pressing travel plans or a hostage crisis. Prior to the cancellation of last year’s White House reception, three of the five honorees — Norman Lear, Carmen de Lavallade and Lionel Richie — had announced they would not attend, or were considering forgoing\u003cstrong>,\u003c/strong> the traditional visit to 1600 Pennsylvania Ave.\u003c/p>\n\u003cp>Of this year’s honorees, three have made their opinion on President Trump plain. Lin-Manuel Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/914102927744217088\">said\u003c/a> he is “going straight to hell,” in response to a tweet President Trump sent about the mayor of San Juan, Puerto Rico. Sarcastically, Philip Glass \u003ca href=\"https://www.profil.at/kultur/philip-glass-donald-trump-8239536\">thanked \u003c/a>Trump in a 2017 interview with Austria’s \u003cem>Profil\u003c/em>, saying, “It’s wonderful … Even my children, who before were only immersed in video games, now attend demonstrations and engage politically. We should be grateful to Trump for shaking us.” Cher’s all-but-legendary Twitter account is consistent in nothing else if not \u003ca href=\"https://twitter.com/cher/status/1016407197247365121\">ire\u003c/a> for the president. McEntire has \u003ca href=\"https://pridesource.com/article/83932/\">maintained\u003c/a> that she does not talk politics — but denied, \u003ca href=\"https://www.etonline.com/media/videos/reba-mcentire-backstage-2018-grammy-awards-full-press-conference-95338\">backstage\u003c/a> at this year’s Grammy Awards, that her cover of “Back to God” was any pro-Trump signaling after the song was held up by Trump supporters as a signal of her support. Asked about her intentions in recording the 2008 song, and whether they had anything to do with the president, McEntire responded, incredulously: “Are you kidding?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s ceremony will take place Sunday\u003c/em>\u003cem>\u003cstrong>,\u003c/strong>\u003c/em>\u003cem> Dec. 2, 2018 and will be broadcast on CBS December 26 at 8 p.m. ET.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Names+Its+2018+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kennedy Center annually recognizes artists who have had a uniquely wide and enduring impact on American culture. On Wednesday, the Washington, D.C. institution announced this year’s recipients of the Kennedy Center Honors: country singer \u003ca href=\"https://www.npr.org/2017/02/04/513315456/reba-mcentires-new-album-is-a-dedication-to-family-and-faith\">Reba McEntire\u003c/a>, jazz saxophonist and composer \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\">Wayne Shorter\u003c/a>, composer \u003ca href=\"https://www.npr.org/artists/15680178/philip-glass\">Philip Glass\u003c/a>, singer Cher, and the creative team behind the smash musical \u003ca href=\"https://www.npr.org/tags/475044603/hamilton\">\u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>This year’s awardees are a typically eclectic group of artists. McEntire has forty years of studio history behind her and a sitcom to boot. Along with being a progenitor of jazz fusion and a celebrated Miles Davis collaborator, Shorter is a sci-fi lover who \u003ca href=\"https://www.npr.org/2018/07/25/631999084/jazz-legend-wayne-shorter-announces-emanon-a-multiverse-inspired-triple-album\">writes comic books\u003c/a>. Glass is one of the most celebrated contemporary composers in the world, and is also a co-founder of Tibet House, a cultural institution that seeks to “ensure the survival of Tibetan civilization and culture.” Cher is, of course, an idiosyncratic and indelible pop totem (and gifted Twitter user). Her statement upon learning Wednesday’s news was typically offbeat: “When I was very young I saw \u003cem>Dumbo\u003c/em> and \u003cem>Cinderella\u003c/em> and knew then what I wanted to be and the path my life would take and here I am!”\u003c/p>\n\u003cp>The Kennedy Center is also celebrating the four-member team behind \u003cem>Hamilton\u003c/em>, one of this decade’s most striking artistic phenomenons: writer and actor \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\">Lin-Manuel Miranda\u003c/a>, director Thomas Kail, choreographer Andy Blankenbuehler and music director Alex Lacamoire. In its announcement, the Kennedy Center calls the musical “a transformative work that defies category.”\u003c/p>\n\u003cp>“Historically, the Kennedy Center Honors has celebrated lifetime achievement,” says the organization’s president\u003cstrong>,\u003c/strong> Deborah F. Rutter\u003cstrong>,\u003c/strong> in a statement. “In recognizing \u003cem>Hamilton\u003c/em> and its co-creators, the Kennedy Center is making an unprecedented statement about an unprecedented work — a work that transcends cultural boundaries and tells America’s story in a powerful and contemporary way.”\u003c/p>\n\u003cp>Notably, the central artistic vehicle in \u003cem>Hamilton\u003c/em>, rapping, is a medium only recently inducted into the Center’s honor rolls when, last year, LL Cool J became the \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541365592/ll-cool-j-to-become-kennedy-centers-first-hip-hop-honoree\">first hip-hop artist\u003c/a> bestowed a rainbowed medallion by the institution. In 2017, the Kennedy Center also named the rapper Q-Tip, of A Tribe Called Quest, as its \u003ca href=\"https://www.npr.org/2017/10/08/556546495/q-tips-new-kennedy-center-role-helps-institutionalize-hip-hop\">first\u003c/a> artistic director of hip-hop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, the White House reception that usually accompanies the Kennedy Center awards ceremony was suspended “to allow the honorees to celebrate without any political distraction,” White House press secretary Sarah Huckabee Sanders \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">explained\u003c/a> at the time. It was only the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">fourth time\u003c/a> in the awards’ 40-year history, the \u003ca href=\"https://www.nytimes.com/2017/08/19/us/politics/donald-and-melania-trump-to-skip-kennedy-center-honors.html\">\u003cem>New York\u003c/em> \u003cem>Times\u003c/em>\u003c/a> reported, that a sitting president had missed the event — and the first leader to do so \u003ca href=\"https://factba.se/topic/calendar\">without\u003c/a> pressing travel plans or a hostage crisis. Prior to the cancellation of last year’s White House reception, three of the five honorees — Norman Lear, Carmen de Lavallade and Lionel Richie — had announced they would not attend, or were considering forgoing\u003cstrong>,\u003c/strong> the traditional visit to 1600 Pennsylvania Ave.\u003c/p>\n\u003cp>Of this year’s honorees, three have made their opinion on President Trump plain. Lin-Manuel Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/914102927744217088\">said\u003c/a> he is “going straight to hell,” in response to a tweet President Trump sent about the mayor of San Juan, Puerto Rico. Sarcastically, Philip Glass \u003ca href=\"https://www.profil.at/kultur/philip-glass-donald-trump-8239536\">thanked \u003c/a>Trump in a 2017 interview with Austria’s \u003cem>Profil\u003c/em>, saying, “It’s wonderful … Even my children, who before were only immersed in video games, now attend demonstrations and engage politically. We should be grateful to Trump for shaking us.” Cher’s all-but-legendary Twitter account is consistent in nothing else if not \u003ca href=\"https://twitter.com/cher/status/1016407197247365121\">ire\u003c/a> for the president. McEntire has \u003ca href=\"https://pridesource.com/article/83932/\">maintained\u003c/a> that she does not talk politics — but denied, \u003ca href=\"https://www.etonline.com/media/videos/reba-mcentire-backstage-2018-grammy-awards-full-press-conference-95338\">backstage\u003c/a> at this year’s Grammy Awards, that her cover of “Back to God” was any pro-Trump signaling after the song was held up by Trump supporters as a signal of her support. Asked about her intentions in recording the 2008 song, and whether they had anything to do with the president, McEntire responded, incredulously: “Are you kidding?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s ceremony will take place Sunday\u003c/em>\u003cem>\u003cstrong>,\u003c/strong>\u003c/em>\u003cem> Dec. 2, 2018 and will be broadcast on CBS December 26 at 8 p.m. ET.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kennedy+Center+Names+Its+2018+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel",
"headTitle": "Revered Drummer Brian Blade Draws a Through-Line from Jazz to Gospel | KQED",
"content": "\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oanAeie_Tag\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6qwv2f5m0xM\u003c/p>\n\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w26SF8kwEKg\u003c/p>\n\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Brian Blade and the Fellowship perform Tuesday, June 12, at the SFJAZZ Center. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade-fellowship/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanks to his greatest mentor, Brian Blade has learned to never stop exploring.\u003c/p>\n\u003cp>As he tells KQED Arts over the phone from his home in Shreveport, Louisiana, that man is his father, Brady L. Blade, Sr., who’s been pastor at Zion Baptist Church in his hometown for more than 50 years.\u003c/p>\n\u003cp>“He’s been reading the same Scriptures for 75 years now, and he’s still digging,” he emphasizes, slowing his phrasing to carefully tend to each syllable, “still looking to share this parable in another way to make it resonate with someone who’s there listening.”\u003c/p>\n\u003cp>“I carry that with me,” he says. “I hope that I have just a bit of his dedication.”\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/oanAeie_Tag'\n title='//www.youtube.com/embed/oanAeie_Tag'\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>Blade is likely best known for his role supporting saxophone legend Wayne Shorter in his current quartet, a post he’s held for the past 17 years. Shorter’s band is revered in the jazz realm for their near-telepathic connection to one another, building to electric crescendos from a blank musical slate. But this week, when he appears at SFJAZZ’s Miner Auditorium as part of the \u003ca href=\"https://www.sfjazz.org/calendar/?month=6.2018\" target=\"_blank\" rel=\"noopener\">36th annual San Francisco Jazz Festival\u003c/a>, Blade presents a more folkloric side of his musical mind.\u003c/p>\n\u003cp>On June 12, Blade leads the Fellowship, a group he fronts with composer and pianist Jon Cowherd, with whom he started writing music at Loyola University in 1988. The ensemble also features Myron Walden on alto saxophone and bass clarinet, Melvin Butler on soprano and tenor saxophones, Chris Thomas on bass and Kurt Rosenwinkel on guitar. The Fellowship’s career spans two decades and five gorgeous gospel-infused albums, each one a celebration of, and testament to, the deep sense of unity and intention that marks the Fellowship’s approach.\u003c/p>\n\u003cp>Compared to the tightly-wound tension and release present in his work with Shorter, which at times can build to a \u003ca href=\"https://www.youtube.com/watch?v=kJx0fryrcUo\">violent, cathartic intensity\u003c/a>, Blade’s music with the Fellowship may feel subdued. But this is by choice—their focus as an ensemble has long been cultivating a synchronized collective performance as opposed to highlighting virtuoso soloists, an outgrowth of what Blade refers to as a “fraternal unity” within the group.\u003c/p>\n\u003cp>“One of the many things I love about the band and our collective voice is that we all have reverence for the pure melodic content of a song, of storytelling, of that simplicity,” Blade shares. “It takes a great discipline and focus and submission to find your part, even if that part means not playing.”\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/6qwv2f5m0xM'\n title='//www.youtube.com/embed/6qwv2f5m0xM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before the group’s self-titled debut in 1998, Blade was well on his way toward building a highly successful career as a session musician, drumming on tour and in the studio with jazz’s rising talents and even some icons of rock and roots music. By that time, he had already worked with Bob Dylan, Emmylou Harris and Joshua Redman, and had just started collaborating with Joni Mitchell, one of his musical heroes. Yet he says he still felt an “unction,” an incessant desire to share his own musical voice with the world.\u003c/p>\n\u003cp>There’s an ecstatic revelation to the Fellowship’s music, and a depth that emerges in time from what, on the surface, sounds simple. Blade admits that jazz may be the pronounced through-line in the music, but the sonic textures also reveal shades of country, folk and gospel, the latter a natural outgrowth from his formative years playing drums in Zion Baptist’s worship band.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Take the three versions of the title track of the group’s latest, \u003cem>Body and Shadow\u003c/em>, released late last year. Demarcated by time—morning, noon and night—the underlying melody may sound similar in all three versions, but the essence is quite different in each short, impressionistic take. Blade likens the approach to staring out the same window as the day passes, an act that seems static until one examines the changes in their surroundings. “You realize we’re turning on this axis,” he says. “We’re in this massive universe and things are moving and we don’t even perceive it necessarily.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Similarly, there are two versions of the spiritual “Have Thine Own Way, Lord,” with Cowherd’s solo performance on harmonium providing a bittersweet reading that turns triumphant in the full band’s hands.\u003c/span>\u003c/p>\n\u003cp>With each subsequent project, the Fellowship seems more content to explore the nuances of a composition rather than continually revisit the “improvisation chasm” present in instrumental jazz, when a soloist steps into the spotlight to improvise while the rest of the band follows their musical lead. There’s a definite power present in their restraint.\u003c/p>\n\u003cp>“Obviously, the improvisation chasm that we can all step into is also something I love, but at the same time, I love striking the balance between playing what you want and playing what’s there, and only that,” says Blade.\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/w26SF8kwEKg'\n title='//www.youtube.com/embed/w26SF8kwEKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dedication comes up plenty in interviews with Blade, albeit in a selfless sense. He speaks of notions like surrendering to the moment, or finding the best avenue to “serve the song” in a given musical context. It’s a mindset he soaked up during those early days in church ensemble from people like organist Colette Murdoc, music director Donnell Hickman and his older brother Brady, Jr., whose drum seat Brian stepped into at age 13.\u003c/p>\n\u003cp>“They gave it all, so perfectly and beautifully and powerfully, to the worship, to the praise and to the music that they were responsible for. Anything less would be—” he trails off, catching himself with a playful laugh. “How can you not give it all? How can you not actually feel good about that?”\u003c/p>\n\u003cp>Blade’s followed their example quite well in the years since. It’s rare to see him playing without a grin on his face, no matter the musical context.\u003c/p>\n\u003cfigure id=\"attachment_13834496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-800x500.jpg\" alt=\"Brian Blade and the Fellowship perform at SFJAZZ in 2016.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Brian-Blade-Fellowship-SFJAZZ-6172016-Cred-Grason-Littles-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Blade and the Fellowship perform at SFJAZZ in 2016. \u003ccite>(Grason Littles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked if the rest of the Fellowship feels a similar same sense of purpose and musical responsibility when performing, he says, “I think so. I would hope so. I feel like each of us individually has our own sort of desire in life, like you feel this calling to do what we’re doing, and the desire to not take that lightly but to cultivate and make it so that that oneness is revealed in the sound.\u003c/p>\n\u003cp>“When there’s that sort of sharing, and singular mindedness when it comes to being a part of a group, then I think the music can really become that cosmic healing chemical,” he adds. “Then the alchemy is like ‘Oh, yeah. This is medicine. This is what we needed.'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"tagline": "Local news to keep you rooted",
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