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"content": "\u003cp>How do sounds capture a neighborhood? What does it mean when local residents archive their own local soundscape?\u003c/p>\n\u003cp>Those are the driving questions behind a new project in the East Los Angeles neighborhood of Boyle Heights. 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This interview has been edited for length and clarity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q4Xj0hcpRD0\u003c/p>\n\u003ch3>On Boyle Heights, a Community of Immigrants\u003c/h3>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Quetzal Flores\"]‘When you put the narrative in the hands of artists, they tell beautiful, powerful stories of deep connection, deep history, and resilience.’[/pullquote]\u003c/p>\n\u003cp>Boyle Heights has been a community of immigrants since its inception.\u003c/p>\n\u003cp>There were communities that could not live anywhere besides Boyle Heights, Compton or other parts of the city that were designated [for immigrants and BIPOC people] through redlining policies. We look at how the economic powers within the city of Los Angeles are positioning themselves to to gentrify Boyle Heights, to displace people, to prey on economic opportunity in the place that has been their sanctuary.\u003c/p>\n\u003cp>There’s a history of defiance, resistance to power and to the oppressive tactics of capitalism, patriarchy and white supremacy.\u003c/p>\n\u003cfigure id=\"attachment_11848070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11848070\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg\" alt=\"\" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1536x801.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of anti-eviction protesters in downtown LA. \u003ccite>(Courtesy of Eva Garcia/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Cross-Cultural Neighborhood Connections\u003c/h3>\n\u003cp>There’s a great story that I was told by a friend: an Eastern European woman would walk by my friend’s house every day [when she was little].\u003c/p>\n\u003cp>One day she stopped and said, ‘Hey, little girl. Come here. What’s that smell? I pass by your house every day and that smell reels me in.’\u003c/p>\n\u003cp>The little girl says, ‘My mom is making tortillas.’ So she brought her a tortilla with some butter on it. And the woman said, ‘This is incredible. Can we exchange? I make sour cream. I will bring you a batch of sour cream every week and you give me tortillas and we’ll exchange.’\u003c/p>\n\u003cp>These two women became best friends and were connected for the rest of their lives.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dY4X616IbT4&\u003c/p>\n\u003ch3>On Reclaiming Boyle Heights’ Narrative\u003c/h3>\n\u003cp>Eddika Organista’s song “Their Landing” chronicles her family’s migration story from Tijuana to Boyle Heights — the story of many people living in Boyle Heights. Eddika told the personal story of her parents arriving from Tijuana, being homeless in the city and finding home in Boyle Heights.\u003c/p>\n\u003cp>When artist Nobuko Miyamoto was a young girl, she and her family were incarcerated by the United States government. Coming out of camp they landed in Boyle Heights. Miyamoto sings about seeing her mother restitch their lives back together, and healing from the trauma of being forcibly removed and incarcerated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yqvIyATWcp8\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Nobuko Miyamoto\"]‘Boyle Heights was a refuge for many Japanese Americans returning from World War II concentration camps. We found color, a taste for food and music and life that been stolen from us.’[/pullquote]\u003c/p>\n\u003cp>Miyamoto became a trained dancer who landed in Broadway and landed a part also in “West Side Story.” During that period she was very active in the movement for Asian American rights, so she’s been a deeply rooted activist and performer for many years.\u003c/p>\n\u003cp>Miyamoto is also a community elder, and she holds a very important perspective. The cross-generational dialogue within these compositions is key.\u003c/p>\n\u003ch3>On Blending Genres and Languages\u003c/h3>\n\u003cp>Angelica Mata’s song, “Mariachi Plaza” is a song in the collection that is bilingual, both in English and Spanish, and it also blends different genres of music.\u003c/p>\n\u003cp>Angelica is the child of two prominent mariachis in Los Angeles. In “Mariachi Plaza” she blends a lush ballad-like introduction into a mariachi piece with fervor and intensity and pride that mariachi elicits.\u003c/p>\n\u003cp>Angelica’s main tradition is mariachi music, but she’s a lover of all genres of music. She loves Brazilian music. She loves jazz. And lyrically, she loves her neighborhood.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sF8CHTptaBo\u003c/p>\n\u003cp>Oftentimes, what happens in the process of gentrifying a community, there’s an erasure of culture and the people.\u003c/p>\n\u003cp>To center the culture and the people is a way of reaffirming our existence — it’s the mirror that people can look at and say to themselves, ‘I matter. I have value. My value is not determined by how much money I make, but the deep connections I have to people in this neighborhood and the sounds that remind me I belong here.’\u003c/p>\n\u003cp>\u003cem>The Sounds of California project will launch a website in the Spring, where listeners can access sounds from many vibrant communities across the state.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do sounds capture a neighborhood? What does it mean when local residents archive their own local soundscape?\u003c/p>\n\u003cp>Those are the driving questions behind a new project in the East Los Angeles neighborhood of Boyle Heights. The \u003ca href=\"https://actaonline.org/program/sounds-of-california/\">Alliance for California Traditional Arts\u003c/a> has commissioned 10 original songs from local artists, focused on themes of anti-displacement and belonging, along with stories about the immigrant experience.\u003c/p>\n\u003cp>Grammy Award-winning musician and ACTA program manager \u003ca href=\"https://www.youtube.com/watch?v=uu5laJPLn7g\">Quetzal Flores\u003c/a> has been helping to curate the project.\u003c/p>\n\u003cp>\u003ca href=\"https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">The California Report Magazine\u003c/a> host Sasha Khokha sat down with Flores to talk about the project, and how it focuses on immigrant narratives and culture. This interview has been edited for length and clarity.\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/Q4Xj0hcpRD0'\n title='//www.youtube.com/embed/Q4Xj0hcpRD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>On Boyle Heights, a Community of Immigrants\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boyle Heights has been a community of immigrants since its inception.\u003c/p>\n\u003cp>There were communities that could not live anywhere besides Boyle Heights, Compton or other parts of the city that were designated [for immigrants and BIPOC people] through redlining policies. We look at how the economic powers within the city of Los Angeles are positioning themselves to to gentrify Boyle Heights, to displace people, to prey on economic opportunity in the place that has been their sanctuary.\u003c/p>\n\u003cp>There’s a history of defiance, resistance to power and to the oppressive tactics of capitalism, patriarchy and white supremacy.\u003c/p>\n\u003cfigure id=\"attachment_11848070\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11848070\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg\" alt=\"\" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut-1536x801.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/11/RS46064_19.-Screen-Shot-2020-11-17-at-12.51.44-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of anti-eviction protesters in downtown LA. \u003ccite>(Courtesy of Eva Garcia/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On Cross-Cultural Neighborhood Connections\u003c/h3>\n\u003cp>There’s a great story that I was told by a friend: an Eastern European woman would walk by my friend’s house every day [when she was little].\u003c/p>\n\u003cp>One day she stopped and said, ‘Hey, little girl. Come here. What’s that smell? I pass by your house every day and that smell reels me in.’\u003c/p>\n\u003cp>The little girl says, ‘My mom is making tortillas.’ So she brought her a tortilla with some butter on it. And the woman said, ‘This is incredible. Can we exchange? I make sour cream. I will bring you a batch of sour cream every week and you give me tortillas and we’ll exchange.’\u003c/p>\n\u003cp>These two women became best friends and were connected for the rest of their lives.\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/dY4X616IbT4'\n title='//www.youtube.com/embed/dY4X616IbT4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>On Reclaiming Boyle Heights’ Narrative\u003c/h3>\n\u003cp>Eddika Organista’s song “Their Landing” chronicles her family’s migration story from Tijuana to Boyle Heights — the story of many people living in Boyle Heights. Eddika told the personal story of her parents arriving from Tijuana, being homeless in the city and finding home in Boyle Heights.\u003c/p>\n\u003cp>When artist Nobuko Miyamoto was a young girl, she and her family were incarcerated by the United States government. Coming out of camp they landed in Boyle Heights. Miyamoto sings about seeing her mother restitch their lives back together, and healing from the trauma of being forcibly removed and incarcerated.\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/yqvIyATWcp8'\n title='//www.youtube.com/embed/yqvIyATWcp8'\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>Miyamoto became a trained dancer who landed in Broadway and landed a part also in “West Side Story.” During that period she was very active in the movement for Asian American rights, so she’s been a deeply rooted activist and performer for many years.\u003c/p>\n\u003cp>Miyamoto is also a community elder, and she holds a very important perspective. The cross-generational dialogue within these compositions is key.\u003c/p>\n\u003ch3>On Blending Genres and Languages\u003c/h3>\n\u003cp>Angelica Mata’s song, “Mariachi Plaza” is a song in the collection that is bilingual, both in English and Spanish, and it also blends different genres of music.\u003c/p>\n\u003cp>Angelica is the child of two prominent mariachis in Los Angeles. In “Mariachi Plaza” she blends a lush ballad-like introduction into a mariachi piece with fervor and intensity and pride that mariachi elicits.\u003c/p>\n\u003cp>Angelica’s main tradition is mariachi music, but she’s a lover of all genres of music. She loves Brazilian music. She loves jazz. And lyrically, she loves her neighborhood.\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/sF8CHTptaBo'\n title='//www.youtube.com/embed/sF8CHTptaBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oftentimes, what happens in the process of gentrifying a community, there’s an erasure of culture and the people.\u003c/p>\n\u003cp>To center the culture and the people is a way of reaffirming our existence — it’s the mirror that people can look at and say to themselves, ‘I matter. I have value. My value is not determined by how much money I make, but the deep connections I have to people in this neighborhood and the sounds that remind me I belong here.’\u003c/p>\n\u003cp>\u003cem>The Sounds of California project will launch a website in the Spring, where listeners can access sounds from many vibrant communities across the state.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Musician Ian Brennan was born in Oakland and made a name for himself performing in live shows at the \u003ca href=\"http://www.mtv.com/news/350127/barbara-manning-joins-colorful-mix-on-laundromat-cd/\">Brainwash Laundromat in ‘90s San Francisco\u003c/a>. He went on to become a producer, working with artists like Lucinda Williams and Ramblin’ Jack Elliot.\u003c/p>\n\u003cp>But Brennan is best known for his field recordings. Along with his wife, photographer and filmmaker Marilena Delli, Brennan has recorded musicians around the world, like the \u003ca href=\"https://www.npr.org/sections/world-cafe/2016/11/09/501463338/zomba-prison-project-on-world-cafe\">inmates at Zomba Prison\u003c/a> in Malawi and \u003ca href=\"https://www.cbc.ca/player/play/2696103780\">genocide survivors in Cambodia\u003c/a>. He won a Grammy Award for the production of the album \u003ca href=\"https://www.nytimes.com/2011/09/01/arts/music/tinariwens-tassili-desert-blues-recorded-on-site.html\">Tassili\u003c/a> from the band \u003ca href=\"https://www.npr.org/2016/05/17/478372649/watch-tinariwen-perform-tin-ihlan-live-at-pickathon\">Tinariwen\u003c/a>, which has roots in Mali and Algeria.\u003c/p>\n\u003cfigure id=\"attachment_11839064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839064\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-800x600.jpg\" alt='Ian Brennan working with \"The Good Ones,\" a musical group in Rwanda.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Brennan working with “The Good Ones,” a musical group in Rwanda. \u003ccite>(Marilena Umuhoza Delli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, Brennan has worked closer to home, producing an album called \u003ca href=\"https://datebook.sfchronicle.com/music/producer-taps-voices-of-oaklands-homeless-community-for-new-album\">Homeless Oakland Heart\u003c/a> in 2019, which features recordings of unsheltered people on the streets of West Oakland — singing, rapping, reciting poetry and playing instruments, including a broken, nylon-string guitar one man had in his tent.\u003c/p>\n\u003cp>Now, Brennan has turned his mic on his older sister, Jane Brennan, who was born with Down syndrome. She and her companions at an adult care facility in Contra Costa County call themselves “The Sheltered Workshop Singers.” They released their first album, \u003ca href=\"https://shelteredworkshopsingers.bandcamp.com/album/who-you-calling-slow\">“Who You Calling Slow?”\u003c/a> this month.\u003c/p>\n\u003cfigure id=\"attachment_11839062\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839062\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-800x800.jpg\" alt='The album \"Who You Calling Slow?\" produced by Grammy Award-winner Ian Brennan, captures the voices and improvised songs of his sister, who has Down syndrome, and her companions.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The album “Who You Calling Slow?” produced by Grammy Award-winner Ian Brennan, captures the voices and improvised songs of his sister, who has Down syndrome, and her companions. \u003ccite>(Marilena Umuhoza Delli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brennan sat down recently to talk with California Report Magazine host Sasha Khokha about recording the album. Here are some highlights.\u003c/p>\n\u003cp>\u003cem>Comments have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>On Growing Up With Jane\u003c/strong>\u003c/h3>\n\u003cp>Jane was and is one of the biggest factors in my life. The most significant individual growing up really in my whole world was her. We’re only 14 months apart. And for better or for worse, she took care of me and she took care of the rest of us and the family. And it was because of her that we that we stayed together as a family. I don’t know that we would’ve made it without her.\u003c/p>\n\u003cfigure id=\"attachment_11839063\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839063\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-800x1384.jpg\" alt=\"Ian Brennan with his older sister, Jane Brennan, in the 1970s.\" width=\"800\" height=\"1384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-800x1384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-1020x1764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-160x277.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-888x1536.jpg 888w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut.jpg 1184w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Brennan with his older sister, Jane Brennan, in the 1970s. \u003ccite>(Courtesy of Ian Brennan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I started playing guitar when I was five. I don’t really remember not playing music. I only really remember music as a part of everyday life, as a way to connect, a way to communicate. For my sister and her peers, it was dance — the freedom that they express themselves with — was always so extraordinary.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Ian Brennan, music producer\"]‘We used some of the singers’ own devices — the wheelchairs, the canes. There was a yoga ball. It’s 100% live.’[/pullquote]\u003c/p>\n\u003cp>Jane has old vinyl records of mine and some other folks. And she’s played those records until they’re unplayable or continues to play them when they’re barely playable. I’d say she’s, with great certainty, the only person left on the planet Earth, if ever there were many, that listens to any of my music. She still embraces it. I think for her, probably a lot of it is the memories that surround the music.\u003c/p>\n\u003cfigure id=\"attachment_11839065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839065\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44996_hotelutah-qut-800x513.jpg\" alt=\"Ian Brennan performing in the '90s at the Hotel Utah Saloon in San Francisco.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Brennan performing in the ’90s at the Hotel Utah Saloon in San Francisco. \u003ccite>(Courtesy of Ian Brennan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On Jane’s Musical Abilities\u003c/strong>\u003c/h3>\n\u003cp>Well, my mother played a little piano as part of her therapy, but Jane would play it and she would bang away on it — again, without any reservation. Music was our language of communicating with one another. I was verbal before my sister was verbal, though she was older. She taught me a way of listening: to listen not to the words, but the spirit.\u003c/p>\n\u003cp>The beautiful thing about her is that she is mostly nonverbal, but she knows the words to every song — she just makes them up as she goes along. And there’s not that self-consciousness. It’s not a performance. It’s instead just an expression of her state.\u003c/p>\n\u003cp>If we listen to each other more carefully, we learn and we have so much to learn from each other. What I learned from my sister is that she may be developmentally delayed, yet her emotional intelligence is higher than almost anybody I’ve ever met.\u003c/p>\n\u003cfigure id=\"attachment_11839264\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839264\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-800x855.jpg\" alt=\"Jane Brennan with her late father, James Brennan.\" width=\"800\" height=\"855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-800x855.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-1020x1090.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-160x171.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-1437x1536.jpg 1437w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-1916x2048.jpg 1916w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Brennan with her late father, James Brennan. \u003ccite>(Marilena Umuhoza Delli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On Producing ‘Farewell Father’\u003c/strong>\u003c/h3>\n\u003cp>We had an idea about doing a recording with Jane and her peers for years. My father was 85, and we realized that if we were going to do it, we needed to do it now. My father had been diagnosed with less than a year to live. Jane is now 55. The life expectancy, unfortunately, for her generation with Down syndrome is 60.\u003c/p>\n\u003cp>We did the recordings with three generations — my three-year-old daughter and my father were present. So were Jane and her peers, many of whom I’ve known their entire lives. On the song “Farewell Father,” you can hear Jane singing to my father and telling him goodbye. And, in fact, he passed away two months later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>\u003cstrong>On Recording His Family After Recording Around the Globe\u003c/strong>\u003c/h3>\n\u003cp>It felt like literally coming home. It really came full circle musically because the music for me really started with her. It’s been deeply rewarding to hear those voices and to see that there are no amusical people. Music is everywhere. It’s necessary for survival.\u003c/p>\n\u003cp>I really evaluate a record based on: is it unique? Is it different? Does it have a reason to exist for that reason alone? I think that the voices here are unlike any others. The things that are expressed are real. This recording is comprised of instant compositions with people that had never written songs before, sung into a microphone before or played instruments before. Nonetheless, the results were stunning.\u003c/p>\n\u003ch3>\u003cstrong>On the Recording Techniques Used\u003c/strong>\u003c/h3>\n\u003cp>We used some of the singers’ own devices — the wheelchairs, the canes. There was a yoga ball. It’s 100% live. What you’re hearing is something that happened.\u003c/p>\n\u003cp>On most recordings nowadays, what we hear is something that never happened. It’s a simulation of an event that never actually occurred. I am invested in trying to represent a place and time and a moment in time that can connect people to reality in such a way that they can hear better.\u003c/p>\n\u003ch3>\u003cstrong>On the Album’s Message\u003c/strong>\u003c/h3>\n\u003cp>What I’ve always learned from Jane and her peers throughout my life is perseverance and tenacity and acceptance. It’s not a surrender, but an acceptance of limitations, working with them and beyond them.\u003c/p>\n\u003cp>People on this album make up these incredible melodies that are very intricate and unique and complex. Some people have heard them and they say, “What language is that in?” And it’s easy. It’s in the language of music. It’s the universal language. There are no words to those songs. The meaning is embedded in the music itself.\u003c/p>\n\u003cp>https://www.youtube.com/embed/q-hvvuGQTUM\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musician Ian Brennan was born in Oakland and made a name for himself performing in live shows at the \u003ca href=\"http://www.mtv.com/news/350127/barbara-manning-joins-colorful-mix-on-laundromat-cd/\">Brainwash Laundromat in ‘90s San Francisco\u003c/a>. He went on to become a producer, working with artists like Lucinda Williams and Ramblin’ Jack Elliot.\u003c/p>\n\u003cp>But Brennan is best known for his field recordings. Along with his wife, photographer and filmmaker Marilena Delli, Brennan has recorded musicians around the world, like the \u003ca href=\"https://www.npr.org/sections/world-cafe/2016/11/09/501463338/zomba-prison-project-on-world-cafe\">inmates at Zomba Prison\u003c/a> in Malawi and \u003ca href=\"https://www.cbc.ca/player/play/2696103780\">genocide survivors in Cambodia\u003c/a>. He won a Grammy Award for the production of the album \u003ca href=\"https://www.nytimes.com/2011/09/01/arts/music/tinariwens-tassili-desert-blues-recorded-on-site.html\">Tassili\u003c/a> from the band \u003ca href=\"https://www.npr.org/2016/05/17/478372649/watch-tinariwen-perform-tin-ihlan-live-at-pickathon\">Tinariwen\u003c/a>, which has roots in Mali and Algeria.\u003c/p>\n\u003cfigure id=\"attachment_11839064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839064\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-800x600.jpg\" alt='Ian Brennan working with \"The Good Ones,\" a musical group in Rwanda.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44995_goodonesrwanda-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Brennan working with “The Good Ones,” a musical group in Rwanda. \u003ccite>(Marilena Umuhoza Delli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, Brennan has worked closer to home, producing an album called \u003ca href=\"https://datebook.sfchronicle.com/music/producer-taps-voices-of-oaklands-homeless-community-for-new-album\">Homeless Oakland Heart\u003c/a> in 2019, which features recordings of unsheltered people on the streets of West Oakland — singing, rapping, reciting poetry and playing instruments, including a broken, nylon-string guitar one man had in his tent.\u003c/p>\n\u003cp>Now, Brennan has turned his mic on his older sister, Jane Brennan, who was born with Down syndrome. She and her companions at an adult care facility in Contra Costa County call themselves “The Sheltered Workshop Singers.” They released their first album, \u003ca href=\"https://shelteredworkshopsingers.bandcamp.com/album/who-you-calling-slow\">“Who You Calling Slow?”\u003c/a> this month.\u003c/p>\n\u003cfigure id=\"attachment_11839062\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839062\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-800x800.jpg\" alt='The album \"Who You Calling Slow?\" produced by Grammy Award-winner Ian Brennan, captures the voices and improvised songs of his sister, who has Down syndrome, and her companions.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut-470x470.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44993_B1pbRKRg-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The album “Who You Calling Slow?” produced by Grammy Award-winner Ian Brennan, captures the voices and improvised songs of his sister, who has Down syndrome, and her companions. \u003ccite>(Marilena Umuhoza Delli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brennan sat down recently to talk with California Report Magazine host Sasha Khokha about recording the album. Here are some highlights.\u003c/p>\n\u003cp>\u003cem>Comments have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>On Growing Up With Jane\u003c/strong>\u003c/h3>\n\u003cp>Jane was and is one of the biggest factors in my life. The most significant individual growing up really in my whole world was her. We’re only 14 months apart. And for better or for worse, she took care of me and she took care of the rest of us and the family. And it was because of her that we that we stayed together as a family. I don’t know that we would’ve made it without her.\u003c/p>\n\u003cfigure id=\"attachment_11839063\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839063\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-800x1384.jpg\" alt=\"Ian Brennan with his older sister, Jane Brennan, in the 1970s.\" width=\"800\" height=\"1384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-800x1384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-1020x1764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-160x277.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut-888x1536.jpg 888w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44994_OKxtShvw-qut.jpg 1184w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Brennan with his older sister, Jane Brennan, in the 1970s. \u003ccite>(Courtesy of Ian Brennan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I started playing guitar when I was five. I don’t really remember not playing music. I only really remember music as a part of everyday life, as a way to connect, a way to communicate. For my sister and her peers, it was dance — the freedom that they express themselves with — was always so extraordinary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jane has old vinyl records of mine and some other folks. And she’s played those records until they’re unplayable or continues to play them when they’re barely playable. I’d say she’s, with great certainty, the only person left on the planet Earth, if ever there were many, that listens to any of my music. She still embraces it. I think for her, probably a lot of it is the memories that surround the music.\u003c/p>\n\u003cfigure id=\"attachment_11839065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839065\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44996_hotelutah-qut-800x513.jpg\" alt=\"Ian Brennan performing in the '90s at the Hotel Utah Saloon in San Francisco.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44996_hotelutah-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Brennan performing in the ’90s at the Hotel Utah Saloon in San Francisco. \u003ccite>(Courtesy of Ian Brennan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On Jane’s Musical Abilities\u003c/strong>\u003c/h3>\n\u003cp>Well, my mother played a little piano as part of her therapy, but Jane would play it and she would bang away on it — again, without any reservation. Music was our language of communicating with one another. I was verbal before my sister was verbal, though she was older. She taught me a way of listening: to listen not to the words, but the spirit.\u003c/p>\n\u003cp>The beautiful thing about her is that she is mostly nonverbal, but she knows the words to every song — she just makes them up as she goes along. And there’s not that self-consciousness. It’s not a performance. It’s instead just an expression of her state.\u003c/p>\n\u003cp>If we listen to each other more carefully, we learn and we have so much to learn from each other. What I learned from my sister is that she may be developmentally delayed, yet her emotional intelligence is higher than almost anybody I’ve ever met.\u003c/p>\n\u003cfigure id=\"attachment_11839264\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11839264\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-800x855.jpg\" alt=\"Jane Brennan with her late father, James Brennan.\" width=\"800\" height=\"855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-800x855.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-1020x1090.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-160x171.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-1437x1536.jpg 1437w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut-1916x2048.jpg 1916w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/09/RS44999_DadandJanerecording-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Brennan with her late father, James Brennan. \u003ccite>(Marilena Umuhoza Delli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>On Producing ‘Farewell Father’\u003c/strong>\u003c/h3>\n\u003cp>We had an idea about doing a recording with Jane and her peers for years. My father was 85, and we realized that if we were going to do it, we needed to do it now. My father had been diagnosed with less than a year to live. Jane is now 55. The life expectancy, unfortunately, for her generation with Down syndrome is 60.\u003c/p>\n\u003cp>We did the recordings with three generations — my three-year-old daughter and my father were present. So were Jane and her peers, many of whom I’ve known their entire lives. On the song “Farewell Father,” you can hear Jane singing to my father and telling him goodbye. And, in fact, he passed away two months later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>\u003cstrong>On Recording His Family After Recording Around the Globe\u003c/strong>\u003c/h3>\n\u003cp>It felt like literally coming home. It really came full circle musically because the music for me really started with her. It’s been deeply rewarding to hear those voices and to see that there are no amusical people. Music is everywhere. It’s necessary for survival.\u003c/p>\n\u003cp>I really evaluate a record based on: is it unique? Is it different? Does it have a reason to exist for that reason alone? I think that the voices here are unlike any others. The things that are expressed are real. This recording is comprised of instant compositions with people that had never written songs before, sung into a microphone before or played instruments before. Nonetheless, the results were stunning.\u003c/p>\n\u003ch3>\u003cstrong>On the Recording Techniques Used\u003c/strong>\u003c/h3>\n\u003cp>We used some of the singers’ own devices — the wheelchairs, the canes. There was a yoga ball. It’s 100% live. What you’re hearing is something that happened.\u003c/p>\n\u003cp>On most recordings nowadays, what we hear is something that never happened. It’s a simulation of an event that never actually occurred. I am invested in trying to represent a place and time and a moment in time that can connect people to reality in such a way that they can hear better.\u003c/p>\n\u003ch3>\u003cstrong>On the Album’s Message\u003c/strong>\u003c/h3>\n\u003cp>What I’ve always learned from Jane and her peers throughout my life is perseverance and tenacity and acceptance. It’s not a surrender, but an acceptance of limitations, working with them and beyond them.\u003c/p>\n\u003cp>People on this album make up these incredible melodies that are very intricate and unique and complex. Some people have heard them and they say, “What language is that in?” And it’s easy. It’s in the language of music. It’s the universal language. There are no words to those songs. The meaning is embedded in the music itself.\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/q-hvvuGQTUM'\n title='//www.youtube.com/embed/q-hvvuGQTUM'\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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"slug": "a-trojan-horse-of-funk-and-soul-the-story-of-the-black-panthers-house-band",
"title": "A Trojan Horse of Funk and Soul: The Story of the Black Panthers House Band",
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"content": "\u003cp>Fifty years ago, an unlikely musical group evolved out of the Oakland chapter of the Black Panther Party. They were called the Lumpen. And although they quickly gained a following for their air-tight funk and striking lyrics, they were always meant to be much more than mere entertainment.\u003c/p>\n\u003cp>Where other bands of their era were content to coast on good vibes, the Lumpen\u003cstrong> \u003c/strong>were out to preach a message of revolution in places where that message wasn’t always wanted. They were a musical cadre whose mission was to spread the seed of social revolution, armed with funk, attitude and matching outfits.\u003c/p>\n\u003cp>In 1973, Michael Torrence is a 22-year-old Black Panther. He’s dedicated himself to the cause and obeyed every command. He’s a true soldier.\u003c/p>\n\u003cp>“We were definitely as hardcore as anybody cause we dropped everything to come,” says Torrence. “We didn’t join to sing. We joined to be revolutionaries. We joined to make the revolution. We joined … to be Panthers!”\u003c/p>\n\u003cp>But five years of complete devotion to the Panthers has taken a toll. Now, Torrence is desperate to focus on his personal life, just for a while.\u003c/p>\n\u003cp>But to do this, he needs to get permission and it’s got to come from the top.\u003c/p>\n\u003cfigure id=\"attachment_11730261\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11730261\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg\" alt=\"When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-1200x712.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn’t miss a beat. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Torrence shows up at the Lamp Post — it’s a bar in West Oakland — where Panther leader Bobby Seale is having a birthday party. The two men huddle in a corner and talk for a while, but it’s all good.\u003c/p>\n\u003cp>Seale gives Torrence his blessing for some leave time.\u003c/p>\n\u003cp>Torrence is relieved. But as he’s making his way out of the bar, someone tells him that Huey Newton wants to see him. And he wants to see him now.\u003c/p>\n\u003cp>Newton is Seale’s comrade and co-founder of the Panthers. For years, Newton has been a strong and charismatic leader. But recently his moods have been unstable. Tonight, for whatever reason, he’s agitated.\u003c/p>\n\u003cp>Torrence is ushered into a chair in a back room. And there, flanked by a couple enforcers, is Newton.\u003c/p>\n\u003cp>“And he says, ‘Comrade, I hear you want to leave us. Well, do you want to leave bad enough to die? Do you really want to leave bad enough to die?’ I don’t understand the question,” Torrence says. “And [Newton’s enforcer] June takes a gun and puts it to my head. ‘Oh no, comrade, I don’t want to die.'”\u003c/p>\n\u003cp>“He say, ‘Okay. So this is what’s going to happen, you say…’”\u003c/p>\n\u003cp>Torrence starts to object. Newton isn’t having it.\u003c/p>\n\u003cp>“Would you tell this brother not to talk when I’m talking?”\u003c/p>\n\u003cp>Torrence gets a swift kick in the mouth.\u003c/p>\n\u003cp>Newton begins again, “Okay then. So. You say, all power to the people.”\u003c/p>\n\u003cp>“All power to the people,” mumbles Torrence.\u003c/p>\n\u003cp>Michael Torrence has just been persuaded to rethink his request for some time off — a pistol to the head is hard to argue with.\u003c/p>\n\u003cfigure id=\"attachment_11828362\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828362\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther and Lumpen member Michael Torrence. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>People Get Ready\u003c/h3>\n\u003cp>By 1973, Torrence’s years with the Panthers have been a rollercoaster life of extremes. Many times he’s picked up a gun.\u003c/p>\n\u003cp>But he’s also picked up a microphone.\u003c/p>\n\u003cp>Though Torrence did not join the Panthers to sing, the movement’s Minister of Culture gave him and three other young soldiers a special assignment for the cause. It was an R&B group called the Lumpen.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Michael Torrence, former member of the Lumpen\"]‘You could really feel the energy, particularly among younger people, that we felt we could really make a change. Not only could we make a change, we were going to make a change. ‘[/pullquote]\u003c/p>\n\u003cp>When it all began in 1970, the Lumpen’s music was explosive. The band was powerful, and so was the message.\u003c/p>\n\u003cp>The Lumpen worked nonstop for the cause, killing it wherever they performed: San Francisco, Los Angeles, New York, Philadelphia and the Midwest.\u003c/p>\n\u003cp>But it only lasted 11 months. Then things in the Black Panther Party began to implode.\u003c/p>\n\u003cp>This is the story of the rise and fall of an unlikely R&B group born out of social upheaval. The Lumpen weren’t out to make hit records, they were out to change American culture.\u003c/p>\n\u003cp>It’s a journey unlike that of any other band.\u003c/p>\n\u003cp>And Michael Torrence was at the center of it.\u003c/p>\n\u003ch3>Rise of the Panthers\u003c/h3>\n\u003cp>In 1966, Huey Newton and Bobby Seale co-found the Black Panther Party. They’re both students at Merritt Community College in Oakland.\u003c/p>\n\u003cp>Within a few years, the Party offers educational programs, food service, free medical care and drug rehab to the Black community. And the Panthers are leading the fight against rampant police brutality.\u003c/p>\n\u003cp>By the end of the ‘60s, change is in the air, and the Bay Area is ground zero.\u003c/p>\n\u003cp>“[In] San Francisco at that time, we were in the Fillmore District,” Torrence says. “It was very high-tension. Police were riding, you know, four or five deep. If you were out selling your papers they would come and harass you, snatch your papers, maybe arrest you, threaten you. But at the same time there was a lot of energy. That’s the best thing about it. You could really feel the energy, particularly among younger people, that we felt we could really make a change. Not only could we make a change, we were going to make a change. There was this commitment to die if necessary.”\u003c/p>\n\u003cp>Those papers are the weekly bible of party information, a publication called The Black Panther. And the Howard Quinn Printing Company on Alabama Street is where the Lumpen story begins.\u003c/p>\n\u003cfigure id=\"attachment_11828364\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lumpen singer and former Black Panther James Mott, aka Saturu Ned. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former Lumpen singer James Mott, now known as Saturu Ned, takes up the story.\u003c/p>\n\u003cp>“Wednesday night was distribution night, where we would get out the paper. Everybody would come,” he said.\u003c/p>\n\u003cp>That’s in 1970: He’s newly arrived from the Sacramento Panther chapter.\u003c/p>\n\u003cp>All the future members of the Lumpen are in attendance that Wednesday night: Torrence, Mott — now Saturu, William Calhoun and Clark “Santa Rita” Bailey. They all have musical backgrounds ranging from church choirs to professional-level experience, but when they meet, they’re just loyal young soldiers taking orders along with everybody else.\u003c/p>\n\u003cp>“It was a community gathering in Fillmore,” Saturu says. “At that time, Fillmore is not like it is now, changed, and the gentrification. It was … Fillmore.”\u003c/p>\n\u003cp>“And on those distribution nights when various chapters would all come together from the Bay Area to get the paper out, we would sing,” Torrence says.\u003c/p>\n\u003cp>“And we would sing, at that point, just doo-wop songs,” Saturu recalls. “So one night I went over there and the three of us sang and I joined in. And we started harmonizing. We just blended in so cool!”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Michael Torrence, former member of the Lumpen\"]‘If this is how we can be helpful, if this is how we can be useful, if this will advance the cause, this is what we’ll do.’[/pullquote]\u003c/p>\n\u003cp>“And then what we began to do was, we’d just put other words to the popular songs. Because we would be singing what we called revolutionary songs to encourage us in the struggle. In terms of the Lumpen, it kinda grew out of that. Just us singing together. Part of, I guess, the tradition of just singin’ while you work,” Torrence says.\u003c/p>\n\u003cp>It’s a typical Wednesday. The four Panthers are at the print shop, stacking and racking and harmonizing into the night. But this time, there’s someone listening: Emory Douglas, the party’s Minister of Culture.\u003c/p>\n\u003cp>“So after I got back to Central [headquarters], Emory comes in and says, ‘Hey brother, comrade James, you know, everybody relates to music.’ I say, ‘Yeah Emory, they do.’ He says, ‘You guys sound good. We could create a group and the group could be part of the Ministry of Culture, where we could be able to get that message out in the music.’”\u003c/p>\n\u003cp>Emory Douglas is the brilliant style guru and visual artist whose iconic posters and flyers helped brand the movement.\u003c/p>\n\u003cp>“I just would make suggestions,” Douglas says. “Possibly adding some social justice context to the lyrics.”\u003c/p>\n\u003cp>At this point, Bobby Seale and Huey Newton are both behind bars. So Douglas approaches Panthers Chief of Staff David Hilliard. He understands the value of spreading the word through music, and he greenlights the project. He also gives the group a name: The Lumpen.\u003c/p>\n\u003cp>It’s a play on Karl Marx’s idea of the lumpenproletariat: the lower class that would rise up to crush the capitalist power structure.\u003c/p>\n\u003cfigure id=\"attachment_11828363\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828363\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Billy X Jennings, friend of the Lumpen members, and fan of the band. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At the time the party was coming about, political education, political awareness, was growing tremendously,” says Billy X Jennings. He’s a former Panther and the party’s long time historian. He was tight with the Lumpen members fifty years ago, and still is to this day.\u003c/p>\n\u003cp>“In 1968, James Brown put out a song that really changed everything, because Black people, prior to that time, referred to themselves as Negro,” Jennings continues. “James Brown came out and said, ‘We’re Black and we’re proud.’ And once that record come out, you could never go back and say you’re a Negro. You could never go back! James Brown couldn’t have did that in ‘68 if there wasn’t a group like the Black Panther Party that had set up a foundation of knowledge already.”\u003c/p>\n\u003cp>“Emory was recognizing the role of music historically in Black people’s struggle and part of our culture period,” Torrence says. “He began to say, we can do something with this! You guys sound decent together anyway, because we just clicked like that. And so he encouraged us to put something together.\u003c/p>\n\u003cp>“Whatever rehearsal we would do, we would have to do after whatever other assignments or duties we had,” Torrence continues. “So we had to go sell the papers, we had to do the breakfast program, we’d have to do the garbage run, we’d have to do security. We’d have to do whatever it is that any other Panther would do.”\u003c/p>\n\u003cp>From the Panthers’ perspective, The Lumpen was not about show business. It was about contributing to the revolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Singing for us was just political work,” Torrence clarifies. “And if they said the next day, ‘Okay, that’s it,’ fine. Cause we didn’t join for that. If I was really about that, I could have been trying to do it out there in the world. I could have been out there trying to get paid. We never got paid, it was just, if this is how we can be helpful, if this is how we can be useful, if this will advance the cause, this is what we’ll do. But it was always, we follow orders.”\u003c/p>\n\u003cp>And now, only a few months since they were harmonizing to the oldies at the printing plant, their orders are to get onstage and get to work: Educate the people, spread the word and earn money for the party.\u003c/p>\n\u003cp>The Lumpen assemble a six-piece interracial backing band from local players sympathetic to the cause. They’re called the Freedom Messengers.\u003c/p>\n\u003cp>By the summer of 1970, the group is performing at rallies, community gatherings and Panther events around the Bay Area.\u003c/p>\n\u003cp>And they’re good. They’re tight. It’s a professional show on par with almost any act. They’ve got the energy of James Brown, and the dance moves and harmonies of the Temptations. But the lyrics are all about what the Panthers are all about.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G2llXaUMMqc\u003c/p>\n\u003cp>Bobby Seale has just been arrested in New Haven. The first and only single the group makes is “Free Bobby Now.” It’s written by Bill Calhoun, recorded at Tiki Studios in San Jose in August of 1970. Calhoun’s song “No More” is on the flip side.\u003c/p>\n\u003cp>The record is released on the Panthers’ own Seize the Time label, with credit to Black Panther Party Productions. It’s promoted in the Party newspaper, and sold at live shows and Panther events. Any profits are funneled back into the party.\u003c/p>\n\u003cp>The Lumpen take the single around to Bay Area radio stations, but the lyrics are considered too provocative for airplay. But no one questions the quality of what they’re hearing.\u003c/p>\n\u003cp>“They took the craft seriously,” says Rickey Vincent. He’s the author of “Party Time: The Inside Story of the Black Panthers’ Band” and “How Black Power Transformed Soul Music”. It’s a subject he knows well. His mother was an early Panther.\u003c/p>\n\u003cp>“When they did ‘People Get Ready’ by Curtis Mayfield and The Impressions, they hit those notes that you had to hit that show respect for those aspirations that were in that song in 1964-65. The Lumpen flipped the lyrics, obviously. Instead of saying ‘People get ready there’s a train a’comin’,’ they said, ‘People get ready, the revolution’s comin’, you don’t need a ticket, you need a loaded gun.’ And it was like, wait a minute, that’s soul music the way it’s supposed to be sung, but those are not lyrics the way we’ve heard them before.”\u003c/p>\n\u003cfigure id=\"attachment_11828372\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg\" alt=\"\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1020x1402.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1117x1536.jpg 1117w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit.jpg 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed a benefit show in Oakland on Oct. 11, 1970. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen start headlining shows. They’re gigging weekly, doing benefits and playing college campuses up and down the West Coast. And when they’re not headlining, they’re on bills with the Grateful Dead, Carla Thomas and Curtis Mayfield.\u003c/p>\n\u003cp>And not only is the music on fire, but the live show takes choreography to a whole ‘nother level.\u003c/p>\n\u003cp>“Once we hit the stage, [it was] nonstop,” Torrence says. “Even mixed in a dance routine where we would act out brothers on the block playing dice, and James Mott would be a cop. He’d come and harass one and he’d be beating this brother up, and he’d be beating him with a club and I’m watching it, and then I’d finally get disgusted and I’d jump on the cop and Clark and I together, we’d beat the cop down. So it wasn’t just the singing, it was the choreography. The whole experience was something they hadn’t seen before.”\u003c/p>\n\u003cp>In the winter of 1970, the band hits the road for a tour of the Midwest and East Coast. The crowds are enthusiastic. But tensions are running high.\u003c/p>\n\u003cp>David Levinson is the Freedom Messengers’ 19-year-old sax player. After a show at the University of Minnesota, a snowstorm is kicking in. The band is packing up their gear when they’re approached by members of the Black Student Union.\u003c/p>\n\u003cp>“I’ll never forget this,” Levinson says. “They invited the Black members of the band to stay with them, but they didn’t want the white members of the band, of which there were two of us.”\u003c/p>\n\u003cp>“These guys from the student group come out and they look like a military junta,” says Saturu Ned. “[They] got on the black berets and the black boots. I’m like, ‘What are you guys doing?’ ‘Oh, uh, who are those white guys?’ ‘Excuse me? They’re a part of the Lumpen band.’ ‘Well, they can’t stay!’ We told ’em, ‘Look you motherfuckers, we’re not staying if they’re not staying.’ I said, ‘This is a people’s revolution and these are our brothers that we stand behind.’”\u003c/p>\n\u003cp>Levinson is still close with Saturu and the other former band members. “That’s just a small example of the kind of camaraderie and unity we felt. There never was any racism promoted for or practiced by the Black Panther Party at all.”\u003c/p>\n\u003cfigure id=\"attachment_11828371\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg\" alt=\"\" width=\"800\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-1020x1393.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-1125x1536.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4.jpg 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed at Stanford University on Feb. 17, 1971. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen are also in the crosshairs of the cops wherever they go. Late one night after a college show in New Jersey, the police follow the band down an empty road heading out of town.\u003c/p>\n\u003cp>“They made us get out the car,” Saturu says. “They knew who we were and it was pitch dark where they pulled us over. We were like, this is it. They gonna kill us. There was a general rule back then, go to a lighted area. What they did was, one car got in front of us, slowed down. The other one got right behind us. And they waited for that real dark area to pull us over — this is part of the intimidation, right?\u003c/p>\n\u003cp>“There were four of’em. They was grinnin’. ‘Sing for us!’ So we started singing—what was that song? ‘As we stroll along together…’ They would harass us to let us know, we watching you. We know who you are.”\u003c/p>\n\u003cp>But the Lumpen are battling another force besides the authorities. And it’s coming from within the party.\u003c/p>\n\u003cp>“There were people in the party, some in leadership, some in the rank and file that said, ‘Yeah, these guys [in the Lumpen] think they’re something special,'” Torrence says.\u003c/p>\n\u003cp>“If it wasn’t for Emory, I don’t think the Lumpen would have came about because Emory is the one who had the juice,” Billy X Jennings emphasizes. “And there was people that wasn’t into the Lumpen. They didn’t think revolutionaries should be doing that kind of thing. But they were older people too, there weren’t R&B people, they were blues people, and during that time there was a difference. Most of the leadership was southern guys. Southern guys like blues. We are young guys, we like R&B. So that’s why [the Lumpen] never really got any more higher than they were because they were always related to as Panthers first.”\u003c/p>\n\u003cp>But that didn’t stop them.\u003c/p>\n\u003ch3>On Fire in Oakland\u003c/h3>\n\u003cp>It’s Nov. 10, 1970, at Merritt College in Oakland. It’s the alma mater of Huey Newton and Bobby Seale. The birthplace of the Black Panther Party. Tonight, to a packed auditorium, the Lumpen will get the message out.\u003c/p>\n\u003cp>Bear in mind: this group has been together for less than a year.\u003c/p>\n\u003cp>While almost everybody else in the San Francisco music scene has been getting high and jamming, the Lumpen have been working as full time revolutionaries, pursued by the police and the FBI.\u003c/p>\n\u003cp>And they still find time to get this group together.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Billy X Jennings, a former Black Panther and the party’s historian\"]‘It was one of the best shows in my life because the audience was electrified. … We were thinking about the same thing — revolution.’[/pullquote]\u003c/p>\n\u003cp>And tonight is special. The show is being recorded for a live album, and the group pulls out all the stops. Billy X Jennings is there with his fist in the air.\u003c/p>\n\u003cp>“It was one of the best shows in my life because the audience was electrified. Once the Lumpen came on and the band start playing, you would hear them repeat something to the crowd and the crowd would throw it back. Like when they say, ‘All power to the people,’ the crowd would say, ‘All power to the people!’ with a force! And when they’d say, ‘Death to the Fascist pigs,’ they’d say, ‘Death to fascist pigs!’ If you just listen to the people’s feedback alone, you could get high on that. They were killin’ me boy! And even to this day when I hear that, it gives me that revolutionary enthusiasm cause everybody was on the one that night. We were thinking about the same thing — revolution.”\u003c/p>\n\u003cp>The show was an undeniable success… but no album ever appeared.\u003c/p>\n\u003cp>The master tapes made that night went missing, and have never been found. Some have suggested that they were confiscated by the FBI. It’s also possible that they were mislabeled and disappeared in the chaos and discord of the time period. Or they could be decaying in an attic somewhere, long forgotten.\u003c/p>\n\u003cp>Only a grainy, multi-generation cassette of the show has ever surfaced, but it captures the raw power of the band.\u003c/p>\n\u003cfigure id=\"attachment_11828149\" class=\"wp-caption alignnone\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11828149\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg\" alt=\"\" width=\"582\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/The_Lumpen_DC_2-160x107.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen’s mission was to spread the seed of social revolution. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As 1971 arrives, the Panther Party leadership is in chaos. Bobby Seale is still in prison in New Haven. Eldridge Cleaver, the Minister of Information, has fled to Algeria to escape an attempted murder charge on an Oakland cop. The FBI is working to weaken and target the party through a secret \u003ca href=\"https://www.history.com/topics/civil-rights-movement/black-panthers#section_4\">counterintelligence program.\u003c/a>\u003c/p>\n\u003cp>The party is factionalizing.\u003c/p>\n\u003cp>“Huey’s come back out with some different ideas about how things should go,” Torrence says. “In some cases you got Panther against Panther, whether you with Eldridge division or National Headquarters.”\u003c/p>\n\u003cp>At this point, Eldridge is strongly promoting violence.\u003c/p>\n\u003cp>“Right,” Torrence says, but “Huey and Bobby were moving toward a survival program. Even we had to change because all of our original songs was about picking up the gun. There was some other things going on internally, in terms of some of the things being done by Huey that I didn’t agree with, I didn’t join for. And it wasn’t about the police. That was the thing that was bad about it. I was never scared about the police. It’s a bad thing when you get more concerned about the people that you work with than you do with the cops.”\u003c/p>\n\u003cp>As the atmosphere within the Party becomes more desperate, interest in the group from those in power dwindles to nothing. The Lumpen members are reassigned. They’re taken off R&B duty and put on security detail. Their days as a group are numbered.\u003c/p>\n\u003cp>“No, it wasn’t justified,” says Emory Douglas of the group’s demise. “It could have been worked out, but you know we had people who wanted to exercise their position, as far as being in charge. All those things played into it, petty spitefulness. All that.”\u003c/p>\n\u003cp>As Torrence said earlier, if the day came when the singing had to stop, fine. That day finally came.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Michael Torrence, former member of the Lumpen\"]‘We never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.’[/pullquote]\u003c/p>\n\u003cp>“We never thought of ourselves as anything other than Panthers. And the Lumpen was a cadre, a unit for a cultural purpose. We loved it, we enjoyed it, but in the big picture, it’s just another assignment. And so when the situation and circumstances change, then you move on to the next assignment. And we didn’t really have time to mourn about it. Because that’s exactly what happened.”\u003c/p>\n\u003cp>On May 23, 1971, in Sacramento, the Lumpen play their last gig. A few days later, Bill Calhoun decides to leave the party. He was the group’s songwriter. So only 11 months after it began, the band is done.\u003c/p>\n\u003cp>But the Panther Party is still Michael Torrence’s life. It’s all he’s known since he was a teenager. Which brings us back to that night in 1973 at the bar in West Oakland: The night Torrence talked to Bobby Seale and asked for some time off from the Panthers.\u003c/p>\n\u003cp>“So anyway, I go to Bobby at his birthday party at the Lamp Post and I said, ‘Well, Chairman, I have a daughter. She needs some support. Plus, I’m having these little anxiety attacks that’s affecting my work, it’s affecting my effectiveness. I don’t wanna quit, I don’t wanna leave, but I need some time. Get myself back together, and then I’m coming back. I’m coming back.’ And Bobby was real cool with me on it, you know. And I’m crying. I’m shedding tears.”\u003c/p>\n\u003cp>Torrence is leaving the bar when Huey Newton calls him back upstairs. He says the Party will contribute $50 a month for to support Torrence’s daughter. Then Newton puts a gun to Torrence’s head and says this:\u003c/p>\n\u003cp>“’Okay then,’” Torrence recalls. “’We send fifty dollars, but you say: All power to the people.’ All power to the people. So I stuck around.\u003c/p>\n\u003cp>“And about six months later, one of the guys from Chicago comes by, says, ‘You still wanna go? Cause we can’t afford to pay for your kid no more. So you can go, you can leave now.’ OK. Well, all right then. Power to the people now.”\u003c/p>\n\u003cp>And that’s it. Michael Torrence is out of the Black Panthers.\u003c/p>\n\u003cp>[aside tag=\"black-panthers\" label=\"Related coverage\"]\u003c/p>\n\u003cp>“And it was traumatic,” he says. “What was traumatic for me was leaving. What was traumatic was what it had become.”\u003c/p>\n\u003cp>Did he feel betrayed?\u003c/p>\n\u003cp>“Yes! Absolutely. Betrayed, angry, bitter, frustrated. Yes. It took me a while to get back to what they call livin’ in the world. ‘Cause the Party was my world. You ask me what I was, I was a Panther. That’s what I was and who I was. And then to lose that … and try and adjust to out being here, and get a job. What am I gonna put on my resume? Where you been the last five years?”\u003c/p>\n\u003cp>But Torrence did have something on his resume that worked outside of the revolution: The Lumpen. It got him a job.\u003c/p>\n\u003cp>Torrence wound up singing behind Marvin Gaye, and he appeared on the singer’s 1974 album, “Marvin Gaye Live!” It was recorded just a few miles away from where the Lumpen recorded their own live album just four years earlier, in Oakland.\u003c/p>\n\u003cp>Torrence went on to write, produce and sing for other artists for the rest of the 1970s.\u003c/p>\n\u003cp>Though he parted ways with the Panthers almost 50 years ago, it’s still part of him.\u003c/p>\n\u003cp>“As far as the Black Panther Party’s concerned, I don’t regret anything,” he says. “I was with people, [and] these things last a lifetime … and I wouldn’t take that back for anything. Did we make some mistakes? Yeah. But at the time, for what it was, it was right on time. I was just glad to be a part of it. Like I said, we never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Fifty years ago, an unlikely R&B group evolved out of the Oakland chapter of the Black Panther Party. The Lumpen weren’t out to make hit records, they were out to change American culture.",
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"title": "A Trojan Horse of Funk and Soul: The Story of the Black Panthers House Band | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, an unlikely musical group evolved out of the Oakland chapter of the Black Panther Party. They were called the Lumpen. And although they quickly gained a following for their air-tight funk and striking lyrics, they were always meant to be much more than mere entertainment.\u003c/p>\n\u003cp>Where other bands of their era were content to coast on good vibes, the Lumpen\u003cstrong> \u003c/strong>were out to preach a message of revolution in places where that message wasn’t always wanted. They were a musical cadre whose mission was to spread the seed of social revolution, armed with funk, attitude and matching outfits.\u003c/p>\n\u003cp>In 1973, Michael Torrence is a 22-year-old Black Panther. He’s dedicated himself to the cause and obeyed every command. He’s a true soldier.\u003c/p>\n\u003cp>“We were definitely as hardcore as anybody cause we dropped everything to come,” says Torrence. “We didn’t join to sing. We joined to be revolutionaries. We joined to make the revolution. We joined … to be Panthers!”\u003c/p>\n\u003cp>But five years of complete devotion to the Panthers has taken a toll. Now, Torrence is desperate to focus on his personal life, just for a while.\u003c/p>\n\u003cp>But to do this, he needs to get permission and it’s got to come from the top.\u003c/p>\n\u003cfigure id=\"attachment_11730261\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11730261\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg\" alt=\"When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin-1200x712.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/03/lumpen_hangin.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn’t miss a beat. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Torrence shows up at the Lamp Post — it’s a bar in West Oakland — where Panther leader Bobby Seale is having a birthday party. The two men huddle in a corner and talk for a while, but it’s all good.\u003c/p>\n\u003cp>Seale gives Torrence his blessing for some leave time.\u003c/p>\n\u003cp>Torrence is relieved. But as he’s making his way out of the bar, someone tells him that Huey Newton wants to see him. And he wants to see him now.\u003c/p>\n\u003cp>Newton is Seale’s comrade and co-founder of the Panthers. For years, Newton has been a strong and charismatic leader. But recently his moods have been unstable. Tonight, for whatever reason, he’s agitated.\u003c/p>\n\u003cp>Torrence is ushered into a chair in a back room. And there, flanked by a couple enforcers, is Newton.\u003c/p>\n\u003cp>“And he says, ‘Comrade, I hear you want to leave us. Well, do you want to leave bad enough to die? Do you really want to leave bad enough to die?’ I don’t understand the question,” Torrence says. “And [Newton’s enforcer] June takes a gun and puts it to my head. ‘Oh no, comrade, I don’t want to die.'”\u003c/p>\n\u003cp>“He say, ‘Okay. So this is what’s going to happen, you say…’”\u003c/p>\n\u003cp>Torrence starts to object. Newton isn’t having it.\u003c/p>\n\u003cp>“Would you tell this brother not to talk when I’m talking?”\u003c/p>\n\u003cp>Torrence gets a swift kick in the mouth.\u003c/p>\n\u003cp>Newton begins again, “Okay then. So. You say, all power to the people.”\u003c/p>\n\u003cp>“All power to the people,” mumbles Torrence.\u003c/p>\n\u003cp>Michael Torrence has just been persuaded to rethink his request for some time off — a pistol to the head is hard to argue with.\u003c/p>\n\u003cfigure id=\"attachment_11828362\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828362\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43861_Michael-Torrence-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther and Lumpen member Michael Torrence. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>People Get Ready\u003c/h3>\n\u003cp>By 1973, Torrence’s years with the Panthers have been a rollercoaster life of extremes. Many times he’s picked up a gun.\u003c/p>\n\u003cp>But he’s also picked up a microphone.\u003c/p>\n\u003cp>Though Torrence did not join the Panthers to sing, the movement’s Minister of Culture gave him and three other young soldiers a special assignment for the cause. It was an R&B group called the Lumpen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it all began in 1970, the Lumpen’s music was explosive. The band was powerful, and so was the message.\u003c/p>\n\u003cp>The Lumpen worked nonstop for the cause, killing it wherever they performed: San Francisco, Los Angeles, New York, Philadelphia and the Midwest.\u003c/p>\n\u003cp>But it only lasted 11 months. Then things in the Black Panther Party began to implode.\u003c/p>\n\u003cp>This is the story of the rise and fall of an unlikely R&B group born out of social upheaval. The Lumpen weren’t out to make hit records, they were out to change American culture.\u003c/p>\n\u003cp>It’s a journey unlike that of any other band.\u003c/p>\n\u003cp>And Michael Torrence was at the center of it.\u003c/p>\n\u003ch3>Rise of the Panthers\u003c/h3>\n\u003cp>In 1966, Huey Newton and Bobby Seale co-found the Black Panther Party. They’re both students at Merritt Community College in Oakland.\u003c/p>\n\u003cp>Within a few years, the Party offers educational programs, food service, free medical care and drug rehab to the Black community. And the Panthers are leading the fight against rampant police brutality.\u003c/p>\n\u003cp>By the end of the ‘60s, change is in the air, and the Bay Area is ground zero.\u003c/p>\n\u003cp>“[In] San Francisco at that time, we were in the Fillmore District,” Torrence says. “It was very high-tension. Police were riding, you know, four or five deep. If you were out selling your papers they would come and harass you, snatch your papers, maybe arrest you, threaten you. But at the same time there was a lot of energy. That’s the best thing about it. You could really feel the energy, particularly among younger people, that we felt we could really make a change. Not only could we make a change, we were going to make a change. There was this commitment to die if necessary.”\u003c/p>\n\u003cp>Those papers are the weekly bible of party information, a publication called The Black Panther. And the Howard Quinn Printing Company on Alabama Street is where the Lumpen story begins.\u003c/p>\n\u003cfigure id=\"attachment_11828364\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43863_James-Mott-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lumpen singer and former Black Panther James Mott, aka Saturu Ned. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former Lumpen singer James Mott, now known as Saturu Ned, takes up the story.\u003c/p>\n\u003cp>“Wednesday night was distribution night, where we would get out the paper. Everybody would come,” he said.\u003c/p>\n\u003cp>That’s in 1970: He’s newly arrived from the Sacramento Panther chapter.\u003c/p>\n\u003cp>All the future members of the Lumpen are in attendance that Wednesday night: Torrence, Mott — now Saturu, William Calhoun and Clark “Santa Rita” Bailey. They all have musical backgrounds ranging from church choirs to professional-level experience, but when they meet, they’re just loyal young soldiers taking orders along with everybody else.\u003c/p>\n\u003cp>“It was a community gathering in Fillmore,” Saturu says. “At that time, Fillmore is not like it is now, changed, and the gentrification. It was … Fillmore.”\u003c/p>\n\u003cp>“And on those distribution nights when various chapters would all come together from the Bay Area to get the paper out, we would sing,” Torrence says.\u003c/p>\n\u003cp>“And we would sing, at that point, just doo-wop songs,” Saturu recalls. “So one night I went over there and the three of us sang and I joined in. And we started harmonizing. We just blended in so cool!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And then what we began to do was, we’d just put other words to the popular songs. Because we would be singing what we called revolutionary songs to encourage us in the struggle. In terms of the Lumpen, it kinda grew out of that. Just us singing together. Part of, I guess, the tradition of just singin’ while you work,” Torrence says.\u003c/p>\n\u003cp>It’s a typical Wednesday. The four Panthers are at the print shop, stacking and racking and harmonizing into the night. But this time, there’s someone listening: Emory Douglas, the party’s Minister of Culture.\u003c/p>\n\u003cp>“So after I got back to Central [headquarters], Emory comes in and says, ‘Hey brother, comrade James, you know, everybody relates to music.’ I say, ‘Yeah Emory, they do.’ He says, ‘You guys sound good. We could create a group and the group could be part of the Ministry of Culture, where we could be able to get that message out in the music.’”\u003c/p>\n\u003cp>Emory Douglas is the brilliant style guru and visual artist whose iconic posters and flyers helped brand the movement.\u003c/p>\n\u003cp>“I just would make suggestions,” Douglas says. “Possibly adding some social justice context to the lyrics.”\u003c/p>\n\u003cp>At this point, Bobby Seale and Huey Newton are both behind bars. So Douglas approaches Panthers Chief of Staff David Hilliard. He understands the value of spreading the word through music, and he greenlights the project. He also gives the group a name: The Lumpen.\u003c/p>\n\u003cp>It’s a play on Karl Marx’s idea of the lumpenproletariat: the lower class that would rise up to crush the capitalist power structure.\u003c/p>\n\u003cfigure id=\"attachment_11828363\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828363\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/RS43862_Billy-Jennings-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Billy X Jennings, friend of the Lumpen members, and fan of the band. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At the time the party was coming about, political education, political awareness, was growing tremendously,” says Billy X Jennings. He’s a former Panther and the party’s long time historian. He was tight with the Lumpen members fifty years ago, and still is to this day.\u003c/p>\n\u003cp>“In 1968, James Brown put out a song that really changed everything, because Black people, prior to that time, referred to themselves as Negro,” Jennings continues. “James Brown came out and said, ‘We’re Black and we’re proud.’ And once that record come out, you could never go back and say you’re a Negro. You could never go back! James Brown couldn’t have did that in ‘68 if there wasn’t a group like the Black Panther Party that had set up a foundation of knowledge already.”\u003c/p>\n\u003cp>“Emory was recognizing the role of music historically in Black people’s struggle and part of our culture period,” Torrence says. “He began to say, we can do something with this! You guys sound decent together anyway, because we just clicked like that. And so he encouraged us to put something together.\u003c/p>\n\u003cp>“Whatever rehearsal we would do, we would have to do after whatever other assignments or duties we had,” Torrence continues. “So we had to go sell the papers, we had to do the breakfast program, we’d have to do the garbage run, we’d have to do security. We’d have to do whatever it is that any other Panther would do.”\u003c/p>\n\u003cp>From the Panthers’ perspective, The Lumpen was not about show business. It was about contributing to the revolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Singing for us was just political work,” Torrence clarifies. “And if they said the next day, ‘Okay, that’s it,’ fine. Cause we didn’t join for that. If I was really about that, I could have been trying to do it out there in the world. I could have been out there trying to get paid. We never got paid, it was just, if this is how we can be helpful, if this is how we can be useful, if this will advance the cause, this is what we’ll do. But it was always, we follow orders.”\u003c/p>\n\u003cp>And now, only a few months since they were harmonizing to the oldies at the printing plant, their orders are to get onstage and get to work: Educate the people, spread the word and earn money for the party.\u003c/p>\n\u003cp>The Lumpen assemble a six-piece interracial backing band from local players sympathetic to the cause. They’re called the Freedom Messengers.\u003c/p>\n\u003cp>By the summer of 1970, the group is performing at rallies, community gatherings and Panther events around the Bay Area.\u003c/p>\n\u003cp>And they’re good. They’re tight. It’s a professional show on par with almost any act. They’ve got the energy of James Brown, and the dance moves and harmonies of the Temptations. But the lyrics are all about what the Panthers are all about.\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/G2llXaUMMqc'\n title='//www.youtube.com/embed/G2llXaUMMqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bobby Seale has just been arrested in New Haven. The first and only single the group makes is “Free Bobby Now.” It’s written by Bill Calhoun, recorded at Tiki Studios in San Jose in August of 1970. Calhoun’s song “No More” is on the flip side.\u003c/p>\n\u003cp>The record is released on the Panthers’ own Seize the Time label, with credit to Black Panther Party Productions. It’s promoted in the Party newspaper, and sold at live shows and Panther events. Any profits are funneled back into the party.\u003c/p>\n\u003cp>The Lumpen take the single around to Bay Area radio stations, but the lyrics are considered too provocative for airplay. But no one questions the quality of what they’re hearing.\u003c/p>\n\u003cp>“They took the craft seriously,” says Rickey Vincent. He’s the author of “Party Time: The Inside Story of the Black Panthers’ Band” and “How Black Power Transformed Soul Music”. It’s a subject he knows well. His mother was an early Panther.\u003c/p>\n\u003cp>“When they did ‘People Get Ready’ by Curtis Mayfield and The Impressions, they hit those notes that you had to hit that show respect for those aspirations that were in that song in 1964-65. The Lumpen flipped the lyrics, obviously. Instead of saying ‘People get ready there’s a train a’comin’,’ they said, ‘People get ready, the revolution’s comin’, you don’t need a ticket, you need a loaded gun.’ And it was like, wait a minute, that’s soul music the way it’s supposed to be sung, but those are not lyrics the way we’ve heard them before.”\u003c/p>\n\u003cfigure id=\"attachment_11828372\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg\" alt=\"\" width=\"800\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-800x1100.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1020x1402.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit-1117x1536.jpg 1117w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_seize_the_time_benefit.jpg 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed a benefit show in Oakland on Oct. 11, 1970. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen start headlining shows. They’re gigging weekly, doing benefits and playing college campuses up and down the West Coast. And when they’re not headlining, they’re on bills with the Grateful Dead, Carla Thomas and Curtis Mayfield.\u003c/p>\n\u003cp>And not only is the music on fire, but the live show takes choreography to a whole ‘nother level.\u003c/p>\n\u003cp>“Once we hit the stage, [it was] nonstop,” Torrence says. “Even mixed in a dance routine where we would act out brothers on the block playing dice, and James Mott would be a cop. He’d come and harass one and he’d be beating this brother up, and he’d be beating him with a club and I’m watching it, and then I’d finally get disgusted and I’d jump on the cop and Clark and I together, we’d beat the cop down. So it wasn’t just the singing, it was the choreography. The whole experience was something they hadn’t seen before.”\u003c/p>\n\u003cp>In the winter of 1970, the band hits the road for a tour of the Midwest and East Coast. The crowds are enthusiastic. But tensions are running high.\u003c/p>\n\u003cp>David Levinson is the Freedom Messengers’ 19-year-old sax player. After a show at the University of Minnesota, a snowstorm is kicking in. The band is packing up their gear when they’re approached by members of the Black Student Union.\u003c/p>\n\u003cp>“I’ll never forget this,” Levinson says. “They invited the Black members of the band to stay with them, but they didn’t want the white members of the band, of which there were two of us.”\u003c/p>\n\u003cp>“These guys from the student group come out and they look like a military junta,” says Saturu Ned. “[They] got on the black berets and the black boots. I’m like, ‘What are you guys doing?’ ‘Oh, uh, who are those white guys?’ ‘Excuse me? They’re a part of the Lumpen band.’ ‘Well, they can’t stay!’ We told ’em, ‘Look you motherfuckers, we’re not staying if they’re not staying.’ I said, ‘This is a people’s revolution and these are our brothers that we stand behind.’”\u003c/p>\n\u003cp>Levinson is still close with Saturu and the other former band members. “That’s just a small example of the kind of camaraderie and unity we felt. There never was any racism promoted for or practiced by the Black Panther Party at all.”\u003c/p>\n\u003cfigure id=\"attachment_11828371\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11828371\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg\" alt=\"\" width=\"800\" height=\"1092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-800x1092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-1020x1393.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-160x218.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4-1125x1536.jpg 1125w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/Lumpen_4.jpg 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed at Stanford University on Feb. 17, 1971. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Lumpen are also in the crosshairs of the cops wherever they go. Late one night after a college show in New Jersey, the police follow the band down an empty road heading out of town.\u003c/p>\n\u003cp>“They made us get out the car,” Saturu says. “They knew who we were and it was pitch dark where they pulled us over. We were like, this is it. They gonna kill us. There was a general rule back then, go to a lighted area. What they did was, one car got in front of us, slowed down. The other one got right behind us. And they waited for that real dark area to pull us over — this is part of the intimidation, right?\u003c/p>\n\u003cp>“There were four of’em. They was grinnin’. ‘Sing for us!’ So we started singing—what was that song? ‘As we stroll along together…’ They would harass us to let us know, we watching you. We know who you are.”\u003c/p>\n\u003cp>But the Lumpen are battling another force besides the authorities. And it’s coming from within the party.\u003c/p>\n\u003cp>“There were people in the party, some in leadership, some in the rank and file that said, ‘Yeah, these guys [in the Lumpen] think they’re something special,'” Torrence says.\u003c/p>\n\u003cp>“If it wasn’t for Emory, I don’t think the Lumpen would have came about because Emory is the one who had the juice,” Billy X Jennings emphasizes. “And there was people that wasn’t into the Lumpen. They didn’t think revolutionaries should be doing that kind of thing. But they were older people too, there weren’t R&B people, they were blues people, and during that time there was a difference. Most of the leadership was southern guys. Southern guys like blues. We are young guys, we like R&B. So that’s why [the Lumpen] never really got any more higher than they were because they were always related to as Panthers first.”\u003c/p>\n\u003cp>But that didn’t stop them.\u003c/p>\n\u003ch3>On Fire in Oakland\u003c/h3>\n\u003cp>It’s Nov. 10, 1970, at Merritt College in Oakland. It’s the alma mater of Huey Newton and Bobby Seale. The birthplace of the Black Panther Party. Tonight, to a packed auditorium, the Lumpen will get the message out.\u003c/p>\n\u003cp>Bear in mind: this group has been together for less than a year.\u003c/p>\n\u003cp>While almost everybody else in the San Francisco music scene has been getting high and jamming, the Lumpen have been working as full time revolutionaries, pursued by the police and the FBI.\u003c/p>\n\u003cp>And they still find time to get this group together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘It was one of the best shows in my life because the audience was electrified. … We were thinking about the same thing — revolution.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And tonight is special. The show is being recorded for a live album, and the group pulls out all the stops. Billy X Jennings is there with his fist in the air.\u003c/p>\n\u003cp>“It was one of the best shows in my life because the audience was electrified. Once the Lumpen came on and the band start playing, you would hear them repeat something to the crowd and the crowd would throw it back. Like when they say, ‘All power to the people,’ the crowd would say, ‘All power to the people!’ with a force! And when they’d say, ‘Death to the Fascist pigs,’ they’d say, ‘Death to fascist pigs!’ If you just listen to the people’s feedback alone, you could get high on that. They were killin’ me boy! And even to this day when I hear that, it gives me that revolutionary enthusiasm cause everybody was on the one that night. We were thinking about the same thing — revolution.”\u003c/p>\n\u003cp>The show was an undeniable success… but no album ever appeared.\u003c/p>\n\u003cp>The master tapes made that night went missing, and have never been found. Some have suggested that they were confiscated by the FBI. It’s also possible that they were mislabeled and disappeared in the chaos and discord of the time period. Or they could be decaying in an attic somewhere, long forgotten.\u003c/p>\n\u003cp>Only a grainy, multi-generation cassette of the show has ever surfaced, but it captures the raw power of the band.\u003c/p>\n\u003cfigure id=\"attachment_11828149\" class=\"wp-caption alignnone\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11828149\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg\" alt=\"\" width=\"582\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/The_Lumpen_DC_2.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/07/The_Lumpen_DC_2-160x107.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen’s mission was to spread the seed of social revolution. \u003ccite>(Courtesy of It's About Time Black Panther Party Legacy & Alumni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As 1971 arrives, the Panther Party leadership is in chaos. Bobby Seale is still in prison in New Haven. Eldridge Cleaver, the Minister of Information, has fled to Algeria to escape an attempted murder charge on an Oakland cop. The FBI is working to weaken and target the party through a secret \u003ca href=\"https://www.history.com/topics/civil-rights-movement/black-panthers#section_4\">counterintelligence program.\u003c/a>\u003c/p>\n\u003cp>The party is factionalizing.\u003c/p>\n\u003cp>“Huey’s come back out with some different ideas about how things should go,” Torrence says. “In some cases you got Panther against Panther, whether you with Eldridge division or National Headquarters.”\u003c/p>\n\u003cp>At this point, Eldridge is strongly promoting violence.\u003c/p>\n\u003cp>“Right,” Torrence says, but “Huey and Bobby were moving toward a survival program. Even we had to change because all of our original songs was about picking up the gun. There was some other things going on internally, in terms of some of the things being done by Huey that I didn’t agree with, I didn’t join for. And it wasn’t about the police. That was the thing that was bad about it. I was never scared about the police. It’s a bad thing when you get more concerned about the people that you work with than you do with the cops.”\u003c/p>\n\u003cp>As the atmosphere within the Party becomes more desperate, interest in the group from those in power dwindles to nothing. The Lumpen members are reassigned. They’re taken off R&B duty and put on security detail. Their days as a group are numbered.\u003c/p>\n\u003cp>“No, it wasn’t justified,” says Emory Douglas of the group’s demise. “It could have been worked out, but you know we had people who wanted to exercise their position, as far as being in charge. All those things played into it, petty spitefulness. All that.”\u003c/p>\n\u003cp>As Torrence said earlier, if the day came when the singing had to stop, fine. That day finally came.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘We never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We never thought of ourselves as anything other than Panthers. And the Lumpen was a cadre, a unit for a cultural purpose. We loved it, we enjoyed it, but in the big picture, it’s just another assignment. And so when the situation and circumstances change, then you move on to the next assignment. And we didn’t really have time to mourn about it. Because that’s exactly what happened.”\u003c/p>\n\u003cp>On May 23, 1971, in Sacramento, the Lumpen play their last gig. A few days later, Bill Calhoun decides to leave the party. He was the group’s songwriter. So only 11 months after it began, the band is done.\u003c/p>\n\u003cp>But the Panther Party is still Michael Torrence’s life. It’s all he’s known since he was a teenager. Which brings us back to that night in 1973 at the bar in West Oakland: The night Torrence talked to Bobby Seale and asked for some time off from the Panthers.\u003c/p>\n\u003cp>“So anyway, I go to Bobby at his birthday party at the Lamp Post and I said, ‘Well, Chairman, I have a daughter. She needs some support. Plus, I’m having these little anxiety attacks that’s affecting my work, it’s affecting my effectiveness. I don’t wanna quit, I don’t wanna leave, but I need some time. Get myself back together, and then I’m coming back. I’m coming back.’ And Bobby was real cool with me on it, you know. And I’m crying. I’m shedding tears.”\u003c/p>\n\u003cp>Torrence is leaving the bar when Huey Newton calls him back upstairs. He says the Party will contribute $50 a month for to support Torrence’s daughter. Then Newton puts a gun to Torrence’s head and says this:\u003c/p>\n\u003cp>“’Okay then,’” Torrence recalls. “’We send fifty dollars, but you say: All power to the people.’ All power to the people. So I stuck around.\u003c/p>\n\u003cp>“And about six months later, one of the guys from Chicago comes by, says, ‘You still wanna go? Cause we can’t afford to pay for your kid no more. So you can go, you can leave now.’ OK. Well, all right then. Power to the people now.”\u003c/p>\n\u003cp>And that’s it. Michael Torrence is out of the Black Panthers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And it was traumatic,” he says. “What was traumatic for me was leaving. What was traumatic was what it had become.”\u003c/p>\n\u003cp>Did he feel betrayed?\u003c/p>\n\u003cp>“Yes! Absolutely. Betrayed, angry, bitter, frustrated. Yes. It took me a while to get back to what they call livin’ in the world. ‘Cause the Party was my world. You ask me what I was, I was a Panther. That’s what I was and who I was. And then to lose that … and try and adjust to out being here, and get a job. What am I gonna put on my resume? Where you been the last five years?”\u003c/p>\n\u003cp>But Torrence did have something on his resume that worked outside of the revolution: The Lumpen. It got him a job.\u003c/p>\n\u003cp>Torrence wound up singing behind Marvin Gaye, and he appeared on the singer’s 1974 album, “Marvin Gaye Live!” It was recorded just a few miles away from where the Lumpen recorded their own live album just four years earlier, in Oakland.\u003c/p>\n\u003cp>Torrence went on to write, produce and sing for other artists for the rest of the 1970s.\u003c/p>\n\u003cp>Though he parted ways with the Panthers almost 50 years ago, it’s still part of him.\u003c/p>\n\u003cp>“As far as the Black Panther Party’s concerned, I don’t regret anything,” he says. “I was with people, [and] these things last a lifetime … and I wouldn’t take that back for anything. Did we make some mistakes? Yeah. But at the time, for what it was, it was right on time. I was just glad to be a part of it. Like I said, we never did it to get famous, we never did it to get rich. We did it because we really wanted to do something for our people, and make a change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "california-teens-teach-music-while-donating-to-coronavirus-relief-efforts",
"title": "California Teens Teach Music While Donating to Coronavirus Relief Efforts",
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"content": "\u003cp>UC Santa Barbara undergraduate student \u003ca href=\"https://www.quarantunes.site/our-teachers?pgid=k8i54fhx-57cffd79-3215-4bd5-a951-ffdb518f1435\" target=\"_blank\" rel=\"noopener noreferrer\">Yarah Meijer\u003c/a> was looking for something to do after coming back home to the San Francisco Bay Area when her campus shut down due to the coronavirus.\u003c/p>\n\u003cp>“Originally, I asked my parents if they’d be comfortable with me working at a convenience store,” Meijer said. “But my dad thought I should look up volunteer work or tutoring that I could do virtually to help out.”\u003c/p>\n\u003cp>It’s tough being cooped up at home right now, especially if you’re a teenager. But some California high school students and undergrads, like Meijer, are using their weeks in quarantine to teach music to kids — and donating the proceeds to support coronavirus relief efforts.\u003c/p>\n\u003cp>She’s doing this through \u003ca href=\"https://www.quarantunes.site/\" target=\"_blank\" rel=\"noopener noreferrer\">QuaranTunes\u003c/a>, a new, online music education service that connects teen music teachers with students ages 4 to 14 who want to learn a musical instrument or sing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The one-on-one, 40-minute coaching sessions take place via video chat (usually Zoom) at no cost to the student. Donations are encouraged, though. They all go to the \u003ca href=\"https://www.cdcfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CDC Foundation\u003c/a>’s efforts to combat COVID-19.\u003c/p>\n\u003cp>One of Meijer’s young students, Sanah Ayyar, started learning the violin a few weeks ago at home with help from her mom.\u003c/p>\n\u003cp>“But she’s really busy,” the 11-year-old student said. “So, I haven’t learned much.”\u003c/p>\n\u003cfigure id=\"attachment_11814844\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11814844\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-1020x948.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut.jpg 1182w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yarah Meijer gives Sanah Ayyar a violin lesson online. \u003ccite>(Zoom video screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s now getting lots of tips from Meijer, including how to play with the correct posture and bow pressure, and how to use rosin.\u003c/p>\n\u003cp>“I guess I’ll start spending more time on the violin,” Ayyar said at the end of a recent lesson.\u003c/p>\n\u003cp>\u003ca href=\"https://www.quarantunes.site/-about\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Segal\u003c/a>, a high school junior, founded QuaranTunes.\u003c/p>\n\u003cp>“I started learning the piano at the age of 3, and started learning voice at the age of 8,” Segal said. “And currently, I’m the lead singer-songwriter of a Palo Alto-based indie-pop band called \u003ca href=\"https://www.reveriebandofficial.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Reverie\u003c/a>.”\u003c/p>\n\u003cp>Segal said she was inspired to launch QuaranTunes after giving her little sister, who was bored and antsy at the start of California’s stay-at-home order, music lessons so that her parents could focus on their work.\u003c/p>\n\u003cp>“I realized that there are probably thousands of other families in the same situation as ours, with children who just really wanted to be kept occupied and to have fun and learn something new in quarantine, but just didn’t really have the resources for that,” Segal said.\u003c/p>\n\u003cfigure id=\"attachment_11814846\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11814846\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42961_julia-segal-qut-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">QuaranTunes founder Julia Segal is a singer and songwriter. \u003ccite>(Courtesy of Julia Segal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Segal enlisted her musical friends as coaches, including high school senior \u003ca href=\"https://www.quarantunes.site/our-teachers?pgid=k8drzdxn-b7657a3f-916b-4085-8953-724e5ef5f835\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Marburg\u003c/a>. He plays piano, ukulele and trombone, and also sings.\u003c/p>\n\u003cp>“It combined two things I’m interested in: music and teaching,” Marburg said of QuaranTunes. “And it also felt like a great way to help out.”\u003c/p>\n\u003cp>Marburg currently has three students, including Ariella Neymark.\u003c/p>\n\u003cp>At 7 years old, Neymark is a budding ukulele player.\u003c/p>\n\u003cp>“Do you remember the name of the strings?” Marburg asked Neymark during a ukulele lesson he recently taught via Zoom.\u003c/p>\n\u003cp>“Yeah. Groovy Cows Eat Apples,” Neymark said, reciting a mnemonic she learned. “So: G, C, E, A.”\u003c/p>\n\u003cfigure id=\"attachment_11814848\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11814848\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut-800x993.jpg\" alt=\"\" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut.jpg 978w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leo Marburg gives Ariella Neymark a ukulele lesson via Zoom. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neymark gamely played the notes, even though she could tell her little blue ukulele was a bit out of tune — a hard thing to fix via web video.\u003c/p>\n\u003cp>But she said she’s loving the lessons.\u003c/p>\n\u003cp>“I get to learn at my own speed,” said the student. “And it’s fun.”\u003c/p>\n\u003cp>Her mom, Irina Neymark, said she found out about QuaranTunes on Facebook.\u003c/p>\n\u003cp>“It’s a wonderful program that, in the current times, can connect the little ones and those in their teens and make it a positive experience,” Neymark said. “It keeps them busy, as well as learning new skills.”\u003c/p>\n\u003cp>The internet has long been awash with online learning resources for developing musicians. You can even \u003ca href=\"https://www.masterclass.com/classes/carlos-santana-teaches-the-art-and-soul-of-guitar\" target=\"_blank\" rel=\"noopener noreferrer\">get guitar pointers from Carlos Santana.\u003c/a> The closure of music schools and private studios as a result of the coronavirus has increased the number of offerings in recent weeks. The San Francisco Community Music Center, for example, is one California organization that has moved many classes that would typically be taught in person, \u003ca href=\"https://sfcmc.org/youth/online-learning/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cp>QuaranTunes has only been around for a few weeks. But Segal said more than 100 students from across the United States, as well as the United Kingdom, India and Canada, have signed up for lessons. Nearly 70 teen musicians have come onboard to teach.\u003c/p>\n\u003cfigure id=\"attachment_11814850\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11814850\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42963_masterclass-qut-800x443.jpg\" alt=\"\" width=\"800\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-800x443.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-1020x565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut.jpg 1738w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">QuaranTunes recently offered a guitar master class taught by professional guitarist and teacher Josh Thurston-Milgrom (top row, second from left) to help teen teachers hone their pedagogical skills. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Segal said QuaranTunes also just started offering master classes by professionals, to help the young teachers develop pedagogical skills.\u003c/p>\n\u003cp>“Many of our teenage musicians are super talented,” Segal said. “But they just haven’t really had experience actually teaching before.”\u003c/p>\n\u003cp>And the service has \u003ca href=\"https://www.gofundme.com/f/quarantuneslessons/donate?utm_source=widget&utm_medium=referral&utm_campaign=p_cp+share-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">already raised\u003c/a> more than $2,500 for the \u003ca href=\"https://www.cdcfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CDC Foundation\u003c/a>’s efforts to combat COVID-19.\u003c/p>\n\u003cp>“The thing that’s been driving me is the idea that although we may not be the ones on the front lines who are fighting the virus directly, we’re all playing a role in helping the world fight this pandemic,” Segal said. “And we’re doing it through what it is that we do best, which is music.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UC Santa Barbara undergraduate student \u003ca href=\"https://www.quarantunes.site/our-teachers?pgid=k8i54fhx-57cffd79-3215-4bd5-a951-ffdb518f1435\" target=\"_blank\" rel=\"noopener noreferrer\">Yarah Meijer\u003c/a> was looking for something to do after coming back home to the San Francisco Bay Area when her campus shut down due to the coronavirus.\u003c/p>\n\u003cp>“Originally, I asked my parents if they’d be comfortable with me working at a convenience store,” Meijer said. “But my dad thought I should look up volunteer work or tutoring that I could do virtually to help out.”\u003c/p>\n\u003cp>It’s tough being cooped up at home right now, especially if you’re a teenager. But some California high school students and undergrads, like Meijer, are using their weeks in quarantine to teach music to kids — and donating the proceeds to support coronavirus relief efforts.\u003c/p>\n\u003cp>She’s doing this through \u003ca href=\"https://www.quarantunes.site/\" target=\"_blank\" rel=\"noopener noreferrer\">QuaranTunes\u003c/a>, a new, online music education service that connects teen music teachers with students ages 4 to 14 who want to learn a musical instrument or sing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The one-on-one, 40-minute coaching sessions take place via video chat (usually Zoom) at no cost to the student. Donations are encouraged, though. They all go to the \u003ca href=\"https://www.cdcfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CDC Foundation\u003c/a>’s efforts to combat COVID-19.\u003c/p>\n\u003cp>One of Meijer’s young students, Sanah Ayyar, started learning the violin a few weeks ago at home with help from her mom.\u003c/p>\n\u003cp>“But she’s really busy,” the 11-year-old student said. “So, I haven’t learned much.”\u003c/p>\n\u003cfigure id=\"attachment_11814844\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11814844\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut-1020x948.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42965_Yarah-and-Sanah-qut.jpg 1182w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yarah Meijer gives Sanah Ayyar a violin lesson online. \u003ccite>(Zoom video screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s now getting lots of tips from Meijer, including how to play with the correct posture and bow pressure, and how to use rosin.\u003c/p>\n\u003cp>“I guess I’ll start spending more time on the violin,” Ayyar said at the end of a recent lesson.\u003c/p>\n\u003cp>\u003ca href=\"https://www.quarantunes.site/-about\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Segal\u003c/a>, a high school junior, founded QuaranTunes.\u003c/p>\n\u003cp>“I started learning the piano at the age of 3, and started learning voice at the age of 8,” Segal said. “And currently, I’m the lead singer-songwriter of a Palo Alto-based indie-pop band called \u003ca href=\"https://www.reveriebandofficial.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Reverie\u003c/a>.”\u003c/p>\n\u003cp>Segal said she was inspired to launch QuaranTunes after giving her little sister, who was bored and antsy at the start of California’s stay-at-home order, music lessons so that her parents could focus on their work.\u003c/p>\n\u003cp>“I realized that there are probably thousands of other families in the same situation as ours, with children who just really wanted to be kept occupied and to have fun and learn something new in quarantine, but just didn’t really have the resources for that,” Segal said.\u003c/p>\n\u003cfigure id=\"attachment_11814846\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11814846\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42961_julia-segal-qut-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42961_julia-segal-qut.jpg 1920w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">QuaranTunes founder Julia Segal is a singer and songwriter. \u003ccite>(Courtesy of Julia Segal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Segal enlisted her musical friends as coaches, including high school senior \u003ca href=\"https://www.quarantunes.site/our-teachers?pgid=k8drzdxn-b7657a3f-916b-4085-8953-724e5ef5f835\" target=\"_blank\" rel=\"noopener noreferrer\">Leo Marburg\u003c/a>. He plays piano, ukulele and trombone, and also sings.\u003c/p>\n\u003cp>“It combined two things I’m interested in: music and teaching,” Marburg said of QuaranTunes. “And it also felt like a great way to help out.”\u003c/p>\n\u003cp>Marburg currently has three students, including Ariella Neymark.\u003c/p>\n\u003cp>At 7 years old, Neymark is a budding ukulele player.\u003c/p>\n\u003cp>“Do you remember the name of the strings?” Marburg asked Neymark during a ukulele lesson he recently taught via Zoom.\u003c/p>\n\u003cp>“Yeah. Groovy Cows Eat Apples,” Neymark said, reciting a mnemonic she learned. “So: G, C, E, A.”\u003c/p>\n\u003cfigure id=\"attachment_11814848\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11814848\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut-800x993.jpg\" alt=\"\" width=\"800\" height=\"993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42962_Leo-and-Ariella-qut.jpg 978w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leo Marburg gives Ariella Neymark a ukulele lesson via Zoom. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neymark gamely played the notes, even though she could tell her little blue ukulele was a bit out of tune — a hard thing to fix via web video.\u003c/p>\n\u003cp>But she said she’s loving the lessons.\u003c/p>\n\u003cp>“I get to learn at my own speed,” said the student. “And it’s fun.”\u003c/p>\n\u003cp>Her mom, Irina Neymark, said she found out about QuaranTunes on Facebook.\u003c/p>\n\u003cp>“It’s a wonderful program that, in the current times, can connect the little ones and those in their teens and make it a positive experience,” Neymark said. “It keeps them busy, as well as learning new skills.”\u003c/p>\n\u003cp>The internet has long been awash with online learning resources for developing musicians. You can even \u003ca href=\"https://www.masterclass.com/classes/carlos-santana-teaches-the-art-and-soul-of-guitar\" target=\"_blank\" rel=\"noopener noreferrer\">get guitar pointers from Carlos Santana.\u003c/a> The closure of music schools and private studios as a result of the coronavirus has increased the number of offerings in recent weeks. The San Francisco Community Music Center, for example, is one California organization that has moved many classes that would typically be taught in person, \u003ca href=\"https://sfcmc.org/youth/online-learning/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cp>QuaranTunes has only been around for a few weeks. But Segal said more than 100 students from across the United States, as well as the United Kingdom, India and Canada, have signed up for lessons. Nearly 70 teen musicians have come onboard to teach.\u003c/p>\n\u003cfigure id=\"attachment_11814850\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11814850\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42963_masterclass-qut-800x443.jpg\" alt=\"\" width=\"800\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-800x443.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-1020x565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42963_masterclass-qut.jpg 1738w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">QuaranTunes recently offered a guitar master class taught by professional guitarist and teacher Josh Thurston-Milgrom (top row, second from left) to help teen teachers hone their pedagogical skills. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Segal said QuaranTunes also just started offering master classes by professionals, to help the young teachers develop pedagogical skills.\u003c/p>\n\u003cp>“Many of our teenage musicians are super talented,” Segal said. “But they just haven’t really had experience actually teaching before.”\u003c/p>\n\u003cp>And the service has \u003ca href=\"https://www.gofundme.com/f/quarantuneslessons/donate?utm_source=widget&utm_medium=referral&utm_campaign=p_cp+share-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">already raised\u003c/a> more than $2,500 for the \u003ca href=\"https://www.cdcfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CDC Foundation\u003c/a>’s efforts to combat COVID-19.\u003c/p>\n\u003cp>“The thing that’s been driving me is the idea that although we may not be the ones on the front lines who are fighting the virus directly, we’re all playing a role in helping the world fight this pandemic,” Segal said. “And we’re doing it through what it is that we do best, which is music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "This Oakland Teen Created a Pop Empire From Her Parents’ Guest Room",
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"content": "\u003cp>\u003cem>Maia, aka mxmtoon, is a 19-year-old singer-songwriter from Oakland. Her angsty lyrics have become an anthem for the socially distant. She’s in a better position than a lot of artists struggling to figure out how to produce and share their music now that everyone is sheltering in place. She’s built her career on social media from her parents' house and has already amassed millions of followers. Her new EP dropped on April 22. Her uncle, video and radio journalist Clarence Ting, has witnessed her transformation into a social media star. He brings us this reflection.\u003c/em>\u003c/p>\n\u003cp>Timing, as the old saying goes, is everything. For mxmtoon, who also goes by her first name Maia, that turned out to be especially true with the release of her latest hit single. It’s called “Quiet Motions” and it dropped in March, just as COVID-19 was declared a global pandemic.\u003c/p>\n\u003cp>“ 'Quiet Motions' was a song I wrote back in January about how nice it was to be by myself, because as an introvert, I definitely stand by that statement,” Maia told me. “But the irony was that we released it two weeks before social distancing really kind of struck in the United States.” She said her whole team was laughing the day that it came out because it was so \"unfortunately relevant,\" and then she said, \"It kinda turned into a quarantine anthem.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NY__uAZtZZ8&feature=youtu.be\u003c/p>\n\u003cp>Maia is my niece and I’ve known her since she was born. She’s my sister's first kid, but little could I have known when I first filmed Maia, then 7 years old — for a \u003ca href=\"https://www.youtube.com/watch?v=1i-6z861-4Y&feature=youtu.be&t=315\" target=\"_blank\" rel=\"noopener noreferrer\">home cooking video\u003c/a> I made and uploaded to YouTube about a dozen years ago — that she would grow into the musical artist with millions of listeners on Spotify and over 1.6 million followers on \u003ca href=\"https://www.tiktok.com/@mxmtoon\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a> alone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just a few years ago, Maia was, by her own reckoning, an average high schooler, writing songs and making random videos in the obscurity of her own bedroom at her parents’ home in Oakland. She posted these regularly to YouTube and SoundCloud. By that point, she was already exploring the creative possibilities of the internet. It was a secret life of which her parents had no idea.\u003c/p>\n\u003cp>“Social media felt like this rebellious edge that I had for myself where it wasn't like partying or drinking or doing drugs or something, but instead I was just creating content for myself and for other people,” Maia said. “So I just did it all the time.\"\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"mxmtoon\"]'No matter how difficult a time may be, the sun still rises and it sets in the evening and you'll still experience those motions every single day.'[/pullquote]\u003c/p>\n\u003cp>A self-described “emo” teen, she had been writing songs since middle school when her seventh grade music teacher first introduced her to the ukulele and the rudiments of songwriting. “I started writing music when I was 13 because of an assignment that my music teacher gave me and I kind of enjoyed it,” Maia said. “It was mostly just like throwing together words from rhyme zone that fit with each other and that was what I made.”\u003c/p>\n\u003cp>For Maia, writing songs was a way of giving voice to the anxiety that she’d felt since she was a young child. “I think songs always were helpful for me to write down what I was feeling because it's already a structured format,” she said. “There's a verse, there's a chorus, the chorus is the main thought that has been stuck in my head for ages. And so songwriting felt very useful to declutter the way that everything was floating around in my head.”\u003c/p>\n\u003cfigure id=\"attachment_11814536\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11814536\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mxmtoon's new EP was released on April 22, 2020. \u003ccite>(Courtesy of Clarence Ting)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first song she published was a jokey track she wrote as a junior in high school titled “\u003ca href=\"https://www.youtube.com/watch?v=xr-RULh-N58&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">1-800-Dateme\u003c/a>.” The song garnered 200 likes the morning after she posted — not much by today’s metrics, but for 16-year-old Maia, it was a big deal.\u003c/p>\n\u003cp>It was a much more confessional song she wrote the summer before her senior year called “Feelings Are Fatal” that really resonated with listeners. “It was just like a little bit more emotionally vulnerable and talking about my anxiety amongst the relationships that I might have or my depression or relationship to my life,\" Maia said. She said she made it in about 20 minutes. The song now has \u003ca href=\"https://open.spotify.com/track/6GGdkwYk4NXuiIcQD16AZg?si=ux6tEqh0TnG-fD-iY4O3hQ\" target=\"_blank\" rel=\"noopener noreferrer\">more than 40 million plays on Spotify\u003c/a>.\u003c/p>\n\u003cp>Maia said her initial courage came from thinking no one was going to see the songs or videos. \"But I think eventually it turned into the mindset of, 'OK, if what I'm saying and what I'm singing about helps one person feel like their experience is being voiced, that's enough reason for me to post it in the first place,' \" she said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K6rGDNrivv8\u003c/p>\n\u003cp>Throughout her senior year in high school, Maia continued to write and post songs, as well as various thoughts and drawings on Twitter, Instagram and YouTube. She’d talk about an \u003ca href=\"https://www.youtube.com/watch?v=V0NpCx7LscA&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">architect\u003c/a> she admired, or do a dance celebrating her \u003ca href=\"https://www.youtube.com/watch?v=EYP3Bin3HiA&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">love of yogurt\u003c/a>. But it was her self-deprecating and confessional songs — and their growing number of listeners — that began to attract attention from the media. \u003ca href=\"https://hypebeast.com/2017/10/best-bedroom-pop-music-clairo-zack-villere-rex-orange-county\" target=\"_blank\" rel=\"noopener noreferrer\">HYPEBEAST\u003c/a>, an online magazine that chronicles the latest in fashion, art, music and sneakers, featured Maia as a rising star in the “bedroom pop” department. At this point, Maia broke the news to her parents.\u003c/p>\n\u003cp>[aside postID=\"arts_13876893\" label=\"How to Help Creatives and Freelancers\" hero=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/MutualAid2_COVER-1020x573.jpg\"]\u003c/p>\n\u003cp>“Eventually it got to a point where I was like, 'OK, this is way too big and I can't hide it anymore from them.' And so when that article from HYPEBEAST came out that morning, I stepped into the kitchen. I was like, ‘Mom, dad, I have to tell you something,’ ” Maia said. “ 'I post music online and this really big editorial company found it and wanted to write about it.' \" She told them she wanted them to know about it, before they found out on Twitter.\u003c/p>\n\u003cp>\"They got really quiet,\" Maia said. They asked her to show them the article, so she pulled it up. \"They read it and I was like, 'I got to go ... I'm just going to go hide in my room.' You can look at things, but I don't want to be in front of you while you're looking,\" she said. They did a deep dive into mxmtoon.\u003c/p>\n\u003cp>Though at first reluctant, Maia’s parents agreed to let her take a gap year from college to devote herself full time to music. They converted the guest bedroom into a recording studio, and six months after graduating from high school she self-released her debut EP.\u003c/p>\n\u003cp>Last summer, Maia left her parents' house, booked a studio in Brooklyn and brought on another young singer-songwriter named \u003ca href=\"http://www.cave.town/home\" target=\"_blank\" rel=\"noopener noreferrer\">Cavetown\u003c/a> to help record and produce her first full-length album, “The Masquerade.” The first single, “Prom Dress,” is a song based on a \"freakout\" moment Maia experienced trying on her prom dress after scarfing down a cheeseburger from In-N-Out Burger.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AeUeLzBO0go&feature=youtu.be\u003c/p>\n\u003cp>The song ended up being a popular track for TikTok videos and inspired its own memes on TikTok. Since downloading the app about a year and a half ago, Maia has amassed a following of over 1.6 million with a steady stream of goofy dances and signature TikTok-style videos.\u003c/p>\n\u003cp>Other songs on the album, like “Seasonal Depression” and “Unspoken Words,” with their themes of loneliness and breakdowns in communication, are a lot of the reason why Maia’s songs often come up on Spotify mixes labeled #sadvibe. “I'm good at talking about ... the unsure aspects of human existence. You know, I'm 19. I'm just really existential and emo,\" Maia said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M7yXav31eVA&feature=youtu.be\u003c/p>\n\u003cp>As Maia’s career has grown, her music has taken on more optimistic themes. “One song I wrote in one of the sessions I was in was called ‘Fever Dream,' ” Maia said. “I was just talking about my experience going into the music industry and how it can be really terrifying, but at the same time wanting to chase whatever that could be at the end of the day and going for it.\"\u003c/p>\n\u003cp>Maia’s latest single “Lessons,” about letting go of doubt and moving forward in life, for her EP “Dawn” has a central theme of renewal and rebirth. The release is another feat of impressive timing during this unsettling period of COVID-19.\u003c/p>\n\u003cp>“No matter how difficult a time may be, the sun still rises and it sets in the evening and you'll still experience those motions every single day,” Maia said of the intention behind the song.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She hopes it will serve as a positive reminder that despite uncertainty, there are still constants in life.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Maia, aka mxmtoon, is a 19-year-old singer-songwriter from Oakland. Her angsty lyrics have become an anthem for the socially distant. She’s in a better position than a lot of artists struggling to figure out how to produce and share their music now that everyone is sheltering in place. She’s built her career on social media from her parents' house and has already amassed millions of followers. Her new EP dropped on April 22. Her uncle, video and radio journalist Clarence Ting, has witnessed her transformation into a social media star. He brings us this reflection.\u003c/em>\u003c/p>\n\u003cp>Timing, as the old saying goes, is everything. For mxmtoon, who also goes by her first name Maia, that turned out to be especially true with the release of her latest hit single. It’s called “Quiet Motions” and it dropped in March, just as COVID-19 was declared a global pandemic.\u003c/p>\n\u003cp>“ 'Quiet Motions' was a song I wrote back in January about how nice it was to be by myself, because as an introvert, I definitely stand by that statement,” Maia told me. “But the irony was that we released it two weeks before social distancing really kind of struck in the United States.” She said her whole team was laughing the day that it came out because it was so \"unfortunately relevant,\" and then she said, \"It kinda turned into a quarantine anthem.\"\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/NY__uAZtZZ8'\n title='//www.youtube.com/embed/NY__uAZtZZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maia is my niece and I’ve known her since she was born. She’s my sister's first kid, but little could I have known when I first filmed Maia, then 7 years old — for a \u003ca href=\"https://www.youtube.com/watch?v=1i-6z861-4Y&feature=youtu.be&t=315\" target=\"_blank\" rel=\"noopener noreferrer\">home cooking video\u003c/a> I made and uploaded to YouTube about a dozen years ago — that she would grow into the musical artist with millions of listeners on Spotify and over 1.6 million followers on \u003ca href=\"https://www.tiktok.com/@mxmtoon\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a> alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A self-described “emo” teen, she had been writing songs since middle school when her seventh grade music teacher first introduced her to the ukulele and the rudiments of songwriting. “I started writing music when I was 13 because of an assignment that my music teacher gave me and I kind of enjoyed it,” Maia said. “It was mostly just like throwing together words from rhyme zone that fit with each other and that was what I made.”\u003c/p>\n\u003cp>For Maia, writing songs was a way of giving voice to the anxiety that she’d felt since she was a young child. “I think songs always were helpful for me to write down what I was feeling because it's already a structured format,” she said. “There's a verse, there's a chorus, the chorus is the main thought that has been stuck in my head for ages. And so songwriting felt very useful to declutter the way that everything was floating around in my head.”\u003c/p>\n\u003cfigure id=\"attachment_11814536\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11814536\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42923_DSC05535-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mxmtoon's new EP was released on April 22, 2020. \u003ccite>(Courtesy of Clarence Ting)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first song she published was a jokey track she wrote as a junior in high school titled “\u003ca href=\"https://www.youtube.com/watch?v=xr-RULh-N58&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">1-800-Dateme\u003c/a>.” The song garnered 200 likes the morning after she posted — not much by today’s metrics, but for 16-year-old Maia, it was a big deal.\u003c/p>\n\u003cp>It was a much more confessional song she wrote the summer before her senior year called “Feelings Are Fatal” that really resonated with listeners. “It was just like a little bit more emotionally vulnerable and talking about my anxiety amongst the relationships that I might have or my depression or relationship to my life,\" Maia said. She said she made it in about 20 minutes. The song now has \u003ca href=\"https://open.spotify.com/track/6GGdkwYk4NXuiIcQD16AZg?si=ux6tEqh0TnG-fD-iY4O3hQ\" target=\"_blank\" rel=\"noopener noreferrer\">more than 40 million plays on Spotify\u003c/a>.\u003c/p>\n\u003cp>Maia said her initial courage came from thinking no one was going to see the songs or videos. \"But I think eventually it turned into the mindset of, 'OK, if what I'm saying and what I'm singing about helps one person feel like their experience is being voiced, that's enough reason for me to post it in the first place,' \" she said.\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/K6rGDNrivv8'\n title='//www.youtube.com/embed/K6rGDNrivv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Throughout her senior year in high school, Maia continued to write and post songs, as well as various thoughts and drawings on Twitter, Instagram and YouTube. She’d talk about an \u003ca href=\"https://www.youtube.com/watch?v=V0NpCx7LscA&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">architect\u003c/a> she admired, or do a dance celebrating her \u003ca href=\"https://www.youtube.com/watch?v=EYP3Bin3HiA&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">love of yogurt\u003c/a>. But it was her self-deprecating and confessional songs — and their growing number of listeners — that began to attract attention from the media. \u003ca href=\"https://hypebeast.com/2017/10/best-bedroom-pop-music-clairo-zack-villere-rex-orange-county\" target=\"_blank\" rel=\"noopener noreferrer\">HYPEBEAST\u003c/a>, an online magazine that chronicles the latest in fashion, art, music and sneakers, featured Maia as a rising star in the “bedroom pop” department. At this point, Maia broke the news to her parents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Eventually it got to a point where I was like, 'OK, this is way too big and I can't hide it anymore from them.' And so when that article from HYPEBEAST came out that morning, I stepped into the kitchen. I was like, ‘Mom, dad, I have to tell you something,’ ” Maia said. “ 'I post music online and this really big editorial company found it and wanted to write about it.' \" She told them she wanted them to know about it, before they found out on Twitter.\u003c/p>\n\u003cp>\"They got really quiet,\" Maia said. They asked her to show them the article, so she pulled it up. \"They read it and I was like, 'I got to go ... I'm just going to go hide in my room.' You can look at things, but I don't want to be in front of you while you're looking,\" she said. They did a deep dive into mxmtoon.\u003c/p>\n\u003cp>Though at first reluctant, Maia’s parents agreed to let her take a gap year from college to devote herself full time to music. They converted the guest bedroom into a recording studio, and six months after graduating from high school she self-released her debut EP.\u003c/p>\n\u003cp>Last summer, Maia left her parents' house, booked a studio in Brooklyn and brought on another young singer-songwriter named \u003ca href=\"http://www.cave.town/home\" target=\"_blank\" rel=\"noopener noreferrer\">Cavetown\u003c/a> to help record and produce her first full-length album, “The Masquerade.” The first single, “Prom Dress,” is a song based on a \"freakout\" moment Maia experienced trying on her prom dress after scarfing down a cheeseburger from In-N-Out Burger.\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/AeUeLzBO0go'\n title='//www.youtube.com/embed/AeUeLzBO0go'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song ended up being a popular track for TikTok videos and inspired its own memes on TikTok. Since downloading the app about a year and a half ago, Maia has amassed a following of over 1.6 million with a steady stream of goofy dances and signature TikTok-style videos.\u003c/p>\n\u003cp>Other songs on the album, like “Seasonal Depression” and “Unspoken Words,” with their themes of loneliness and breakdowns in communication, are a lot of the reason why Maia’s songs often come up on Spotify mixes labeled #sadvibe. “I'm good at talking about ... the unsure aspects of human existence. You know, I'm 19. I'm just really existential and emo,\" Maia said.\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/M7yXav31eVA'\n title='//www.youtube.com/embed/M7yXav31eVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As Maia’s career has grown, her music has taken on more optimistic themes. “One song I wrote in one of the sessions I was in was called ‘Fever Dream,' ” Maia said. “I was just talking about my experience going into the music industry and how it can be really terrifying, but at the same time wanting to chase whatever that could be at the end of the day and going for it.\"\u003c/p>\n\u003cp>Maia’s latest single “Lessons,” about letting go of doubt and moving forward in life, for her EP “Dawn” has a central theme of renewal and rebirth. The release is another feat of impressive timing during this unsettling period of COVID-19.\u003c/p>\n\u003cp>“No matter how difficult a time may be, the sun still rises and it sets in the evening and you'll still experience those motions every single day,” Maia said of the intention behind the song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dancing in your living room with a virtual crowd doesn’t quite replace the feeling of being at a real concert. And so many artists rely on live events to make most of their income.\u003c/p>\n\u003cp>But Gov. Gavin Newsom said on Tuesday that there won’t be any mass gatherings until there’s a vaccine for COVID-19. So what does that mean for the local arts scene, which was already struggling to get by in the Bay Area?\u003c/p>\n\u003cp>\u003cstrong>Guest\u003c/strong>: \u003ca href=\"https://twitter.com/nananastia\">Nastia Voynovskaya\u003c/a>, associate editor for KQED Arts\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "'Zoom Choir': Bay Area Children's Choirs Keep Singing Through Coronavirus",
"title": "'Zoom Choir': Bay Area Children's Choirs Keep Singing Through Coronavirus",
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"content": "\u003cp>Beth Wilmurt is used to coaching the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">Community Music Center Children’s Chorus\u003c/a> from a big, airy room with a grand piano at the group’s Mission District campus in San Francisco.\u003c/p>\n\u003cp>But now the chorus teacher is working from home, creating short instructional singing videos to share with her group of 8 to 12 year olds.\u003c/p>\n\u003cp>“Hi everybody! It’s just me and my ukulele, saying hi,\" says Wilmurt in her video. \"I thought you could sing with me,” she adds, and then launches into a series of warmup exercises geared specifically for kids.\u003c/p>\n\u003cp>\u003ciframe title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The statewide order to shelter in place to help slow the spread of the coronavirus has put in-person rehearsals and concerts on hold. So children’s choirs across the Bay Area, like the one Wilmurt leads, are finding creative ways to keep kids singing, even as they’re stuck indoors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmurt is hoping her students will use her videos to practice singing on their own time, because virtual rehearsals aren’t really an option. Some of the kids she works with lack home internet access. And standard video-conferencing platforms like Zoom and Google Hangouts don’t work well for groups that want to sing together in sync, rather than talk in turn.\u003c/p>\n\u003cp>\"We can't do it with the technology yet,\" Wilmurt said. \"We can't sing in time. There's a delay.\"\u003c/p>\n\u003cp>But Wilmurt said it’s important to keep her students singing, even if it can’t be in person. \"This joy, of connecting through music,\" she said. \"It's palpable.\"\u003c/p>\n\u003cp>And the families whose children she works with agree.\u003c/p>\n\u003cp>\"Days can really blend one into the other here,\" said Yaron Milgrom, whose three children are all in Wilmurt's group. \"Music and singing songs, it's just part of keeping a sense of normalcy.\"\u003c/p>\n\u003cp>https://twitter.com/KQEDnews/status/1245782169357705218\u003c/p>\n\u003cp>\"For young singers who are finding themselves home from school and away from their friends and routines, it's especially important that they can be part of something that allows them to express their emotions and feel connected to others,\" said Catherine Dehoney, president and CEO of \u003ca href=\"https://www.chorusamerica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chorus America\u003c/a>, a national choral advocacy nonprofit. \"It's been amazing to see choruses step up and pivot quickly to find creative new ways for their singers to sing and be in community.\"\u003c/p>\n\u003cp>This new reality of singing-in-place is inspiring a variety of responses from Bay Area children’s musical groups. The Redwood City-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a>, which provides choral training to around 250 youth ages 5 to 18, is having its members create and send videos of themselves practicing at home to their coaches.\u003c/p>\n\u003cp>\u003ciframe title=\"Ragazzi Boys Chorus Young Men’s Ensemble, Concert Group & Choral Scholars\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aIqJJk2MJCE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"We aren't always able to spend this amount of individual time on our choristers,\" said Kent Jue, Ragazzi's executive director and artistic director designate. \"Some of the recordings have been really impressive. I've been very taken by the progress that they've made.\"\u003c/p>\n\u003cp>Ragazzi member Elliot Lee, 10, said he likes the individual feedback.\u003c/p>\n\u003cp>\"The teacher can hear me alone to know what I need to improve at, and what I'm good with,\" Lee said.\u003c/p>\n\u003cp>Some groups, like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a>, are even gamely forging ahead with virtual rehearsals, despite the technological challenges.\u003c/p>\n\u003cp>Around 290 children, mostly from the East Bay, are enrolled in the organization's 12 vocal groups.\u003c/p>\n\u003cp>\u003ciframe title=\"Music of the Pacific Rim: Virtual Concert\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/x3lKO2nvabQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"Even though the online format is different and we can't all sing together and revel in hearing each other's voices, we can continue teaching and learning music,\" said Eric Tuan, the organization's artistic director.\u003c/p>\n\u003cp>\"There are ups and downs with the online forum, but it still keeps them connected and it still inspires them to sometimes break out into song around the house,\" said Aparna Rao, whose daughters Amba and Kiran Beattie sing in the children's choir. \"It also makes me feel less isolated as a parent.\"\u003c/p>\n\u003cp>Because of the technological shortcomings of the virtual platforms, the students mostly have to keep their video feed on mute throughout rehearsals. They can hear Tuan playing the piano and singing. But not each other.\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children's Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Zoom choir is fun but very, very different,\" said 10-year-old Kiran. \"We still see everyone else. But we don't hear anyone except for yourself and sometimes the conductor.\"\u003c/p>\n\u003cp>\"I am definitely most looking forward to being able to hear other people's voices. That's part of what being in the choir is all about,\" said 13-year-old Amba. \"And that is something that we haven't gotten the chance to do right now.\"\u003c/p>\n\u003cp>Tuan said he can’t wait to get everyone together again to sing in person.\u003c/p>\n\u003cp>\"We don't realize how precious that is,\" he said. \"Until we can no longer take it for granted.\"\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beth Wilmurt is used to coaching the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">Community Music Center Children’s Chorus\u003c/a> from a big, airy room with a grand piano at the group’s Mission District campus in San Francisco.\u003c/p>\n\u003cp>But now the chorus teacher is working from home, creating short instructional singing videos to share with her group of 8 to 12 year olds.\u003c/p>\n\u003cp>“Hi everybody! It’s just me and my ukulele, saying hi,\" says Wilmurt in her video. \"I thought you could sing with me,” she adds, and then launches into a series of warmup exercises geared specifically for kids.\u003c/p>\n\u003cp>\u003ciframe title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The statewide order to shelter in place to help slow the spread of the coronavirus has put in-person rehearsals and concerts on hold. So children’s choirs across the Bay Area, like the one Wilmurt leads, are finding creative ways to keep kids singing, even as they’re stuck indoors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmurt is hoping her students will use her videos to practice singing on their own time, because virtual rehearsals aren’t really an option. Some of the kids she works with lack home internet access. And standard video-conferencing platforms like Zoom and Google Hangouts don’t work well for groups that want to sing together in sync, rather than talk in turn.\u003c/p>\n\u003cp>\"We can't do it with the technology yet,\" Wilmurt said. \"We can't sing in time. There's a delay.\"\u003c/p>\n\u003cp>But Wilmurt said it’s important to keep her students singing, even if it can’t be in person. \"This joy, of connecting through music,\" she said. \"It's palpable.\"\u003c/p>\n\u003cp>And the families whose children she works with agree.\u003c/p>\n\u003cp>\"Days can really blend one into the other here,\" said Yaron Milgrom, whose three children are all in Wilmurt's group. \"Music and singing songs, it's just part of keeping a sense of normalcy.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"For young singers who are finding themselves home from school and away from their friends and routines, it's especially important that they can be part of something that allows them to express their emotions and feel connected to others,\" said Catherine Dehoney, president and CEO of \u003ca href=\"https://www.chorusamerica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chorus America\u003c/a>, a national choral advocacy nonprofit. \"It's been amazing to see choruses step up and pivot quickly to find creative new ways for their singers to sing and be in community.\"\u003c/p>\n\u003cp>This new reality of singing-in-place is inspiring a variety of responses from Bay Area children’s musical groups. The Redwood City-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a>, which provides choral training to around 250 youth ages 5 to 18, is having its members create and send videos of themselves practicing at home to their coaches.\u003c/p>\n\u003cp>\u003ciframe title=\"Ragazzi Boys Chorus Young Men’s Ensemble, Concert Group & Choral Scholars\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aIqJJk2MJCE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"We aren't always able to spend this amount of individual time on our choristers,\" said Kent Jue, Ragazzi's executive director and artistic director designate. \"Some of the recordings have been really impressive. I've been very taken by the progress that they've made.\"\u003c/p>\n\u003cp>Ragazzi member Elliot Lee, 10, said he likes the individual feedback.\u003c/p>\n\u003cp>\"The teacher can hear me alone to know what I need to improve at, and what I'm good with,\" Lee said.\u003c/p>\n\u003cp>Some groups, like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a>, are even gamely forging ahead with virtual rehearsals, despite the technological challenges.\u003c/p>\n\u003cp>Around 290 children, mostly from the East Bay, are enrolled in the organization's 12 vocal groups.\u003c/p>\n\u003cp>\u003ciframe title=\"Music of the Pacific Rim: Virtual Concert\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/x3lKO2nvabQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"Even though the online format is different and we can't all sing together and revel in hearing each other's voices, we can continue teaching and learning music,\" said Eric Tuan, the organization's artistic director.\u003c/p>\n\u003cp>\"There are ups and downs with the online forum, but it still keeps them connected and it still inspires them to sometimes break out into song around the house,\" said Aparna Rao, whose daughters Amba and Kiran Beattie sing in the children's choir. \"It also makes me feel less isolated as a parent.\"\u003c/p>\n\u003cp>Because of the technological shortcomings of the virtual platforms, the students mostly have to keep their video feed on mute throughout rehearsals. They can hear Tuan playing the piano and singing. But not each other.\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children's Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Zoom choir is fun but very, very different,\" said 10-year-old Kiran. \"We still see everyone else. But we don't hear anyone except for yourself and sometimes the conductor.\"\u003c/p>\n\u003cp>\"I am definitely most looking forward to being able to hear other people's voices. That's part of what being in the choir is all about,\" said 13-year-old Amba. \"And that is something that we haven't gotten the chance to do right now.\"\u003c/p>\n\u003cp>Tuan said he can’t wait to get everyone together again to sing in person.\u003c/p>\n\u003cp>\"We don't realize how precious that is,\" he said. \"Until we can no longer take it for granted.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This report contains a correction.\u003c/em>\u003c/p>\n\u003cp>Controversial Bay Area nightlife figure Jason Perkins no longer co-owns the Brick & Mortar Music Hall, and the independent music venue has secured a ten-year lease extension on its 250-capacity Mission District location, according to the new partnership group at the helm. [aside postID=arts_13853477,arts_10973414,arts_13873227]\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Though its calendar is booked year-round, \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Telephone\u003c/a>‘s San Francisco recording studio isn’t financially solvent, owner John Vanderslice tells KQED.\u003c/p>\n\u003cp>That’s why, come July 1, Vanderslice will close the studio in the location he’s held in the Mission District since 1997.\u003c/p>\n\u003cp>“We pay over a thousand dollars a month in electricity—so much about being in San Francisco is impossibly expensive,” says Vanderslice, adding that he’s been diverting his clients to the Tiny Telephone location in Oakland, which he opened in 2016. [aside postid='arts_13873207']\u003c/p>\n\u003cp>For over 20 years, Tiny Telephone has been a bastion for indie rock in the Bay Area and beyond. Clients have included notable locals Tune-Yards, Shannon and the Clams and Thao & the Get Down Stay Down, and big names like Sleater-Kinney, Spoon, Death Cab for Cutie and the Mountain Goats.\u003c/p>\n\u003cp>Known for its analog recordings on tape, Tiny Telephone offers access to rare, vintage equipment, top-notch audio engineers and even a string ensemble, the Magik*Magik Orchestra. Yet, out of commitment to San Francisco’s financially squeezed independent musicians, Vanderslice has intentionally kept his rates relatively affordable ($300-$400 a day, excluding the price of an engineer), and hasn’t raised the price of his original A room since 2004.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve served a vulnerable arts community, so that community is very sensitive to us raising our prices,” he says. “We’ve probably been under market—especially compared to studios in L.A.—but I also don’t feel there’s that much room to raise our prices, so we’re in this strange predicament. … I think if we were in any other city, we would have been able to survive.”\u003c/p>\n\u003cp>Mounting costs have caught up to Vanderslice, despite the fact that his landlords, Marilyn and Chris Goode, have actually lowered his rent in recent years. “We’ve tried to make sure engineers got paid enough money to live and to thrive here, so the pressures are from everywhere,” Vanderslice says. “Our techs are phenomenal, but they live in San Francisco. There are techs that are $100 an hour.” [aside postid='arts_13869323']\u003c/p>\n\u003cp>“I think our landlord has shielded us, but you can only shield someone so far,” he adds.\u003c/p>\n\u003cp>Tiny Telephone’s San Francisco location is part of a four-building compound \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">known as the Farm\u003c/a>, which has a colorful history as a hub for radical ideas, urban gardening and DIY culture in San Francisco since the 1970s, when it was founded by conceptual artists \u003ca href=\"https://bampfa.org/news/q-bonnie-ora-sherk-and-performance-being\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a> and Jack Wickert. Comprised of converted industrial warehouses, the property borders Potrero and San Bruno Avenues, and is nestled between between Potrero del Sol park and Highway 101. In its first iteration, the Farm hosted gardening classes for school kids and served as a rehearsal space for performing arts groups such as the San Francisco Mime Troupe.\u003c/p>\n\u003cp>In the ’80s, punk bands like the Descendents and Bad Brains performed at the Farm. The \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">original tenants\u003c/a> were evicted in 1987. In its current incarnation, it includes three commercial buildings and one residential one (plus another adjoining residential building that isn’t owned by the Goode family). In addition to Tiny Telephone, the compound is home to punk label Subterranean Records, three art studios, a florist, a bike bag maker, a biotech company and other small businesses.\u003c/p>\n\u003cp>Tiny Telephone’s departure foreshadows what could be another end of an era at the mixed-use creative space. The fate of the Farm has hung in limbo for years as the owners have announced, and then called off, major changes at the property. Currently, they’re awaiting the Planning Department’s approval on a \u003ca href=\"https://socketsite.com/archives/2019/12/bonus-development-on-the-edge-of-the-mission-closer-to-reality.html\" target=\"_blank\" rel=\"noopener noreferrer\">six-story (plus basement) apartment building\u003c/a> that will require the demolition of the three commercial-use buildings in the compound. [aside postid='arts_13873069']\u003c/p>\n\u003cp>“We’ve always known that the property is not sustainable the way it is and that sometime it’s gonna change,” Chris Goode tells KQED.\u003c/p>\n\u003cp>“This property has had a lot of interesting uses—whether it’s artists, quirky businesses or people living there—because the rents are super cheap, not by national standards, but by San Francisco standards,” Goode adds. “They’re cheap not because we’re wonderful landlords—though we generally have a good relationship—but it’s a funky, weird piece of property up against the freeway.”\u003c/p>\n\u003cp>Construction won’t start for another five or so years, Goode anticipates, but some of the commercial tenants are already uneasy about what comes next.\u003c/p>\n\u003cp>Sculptor \u003ca href=\"http://mikgaspay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mik Gaspay\u003c/a>, who rents an art studio in one of the buildings, says that he received a verbal notice about the slated development two years ago and a written notice late last summer. “To kind of give it a concrete image of the rendering, and seeing surveyors and architects come by, definitely raises anxiety and the uncertainty of my future here in the city as an artist,” says Gaspay, adding that he and the other artists in the building are on month-to-month leases. “I don’t think I could find a similar place for the same price, and the vibe and proximity to my apartment.” [aside postid='arts_13870917']\u003c/p>\n\u003cp>For Vanderslice’s part, he says he knew development would one day come to the Farm since he signed his lease in the ’90s, and that San Francisco’s financial pressures are the primary driver behind his decision to shutter the original Tiny Telephone location. He recently relocated to Los Angeles, where he opened a new recording studio with two Tiny Telephone engineers called Grandma’s Couch, but he comes to the Bay Area regularly to tend to his businesses and property in Sonoma County.\u003c/p>\n\u003cp>Despite the upcoming San Francisco closure, he says business at Tiny Telephone isn’t slowing down. In fact, he anticipates his Oakland studio will be in even greater demand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been so busy—we were booked on Christmas for all three rooms this year,” he says, praising the resilience of the Bay Area’s creative community. “There are still tons and tons of people making art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though its calendar is booked year-round, \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Telephone\u003c/a>‘s San Francisco recording studio isn’t financially solvent, owner John Vanderslice tells KQED.\u003c/p>\n\u003cp>That’s why, come July 1, Vanderslice will close the studio in the location he’s held in the Mission District since 1997.\u003c/p>\n\u003cp>“We pay over a thousand dollars a month in electricity—so much about being in San Francisco is impossibly expensive,” says Vanderslice, adding that he’s been diverting his clients to the Tiny Telephone location in Oakland, which he opened in 2016. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For over 20 years, Tiny Telephone has been a bastion for indie rock in the Bay Area and beyond. Clients have included notable locals Tune-Yards, Shannon and the Clams and Thao & the Get Down Stay Down, and big names like Sleater-Kinney, Spoon, Death Cab for Cutie and the Mountain Goats.\u003c/p>\n\u003cp>Known for its analog recordings on tape, Tiny Telephone offers access to rare, vintage equipment, top-notch audio engineers and even a string ensemble, the Magik*Magik Orchestra. Yet, out of commitment to San Francisco’s financially squeezed independent musicians, Vanderslice has intentionally kept his rates relatively affordable ($300-$400 a day, excluding the price of an engineer), and hasn’t raised the price of his original A room since 2004.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve served a vulnerable arts community, so that community is very sensitive to us raising our prices,” he says. “We’ve probably been under market—especially compared to studios in L.A.—but I also don’t feel there’s that much room to raise our prices, so we’re in this strange predicament. … I think if we were in any other city, we would have been able to survive.”\u003c/p>\n\u003cp>Mounting costs have caught up to Vanderslice, despite the fact that his landlords, Marilyn and Chris Goode, have actually lowered his rent in recent years. “We’ve tried to make sure engineers got paid enough money to live and to thrive here, so the pressures are from everywhere,” Vanderslice says. “Our techs are phenomenal, but they live in San Francisco. There are techs that are $100 an hour.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think our landlord has shielded us, but you can only shield someone so far,” he adds.\u003c/p>\n\u003cp>Tiny Telephone’s San Francisco location is part of a four-building compound \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">known as the Farm\u003c/a>, which has a colorful history as a hub for radical ideas, urban gardening and DIY culture in San Francisco since the 1970s, when it was founded by conceptual artists \u003ca href=\"https://bampfa.org/news/q-bonnie-ora-sherk-and-performance-being\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a> and Jack Wickert. Comprised of converted industrial warehouses, the property borders Potrero and San Bruno Avenues, and is nestled between between Potrero del Sol park and Highway 101. In its first iteration, the Farm hosted gardening classes for school kids and served as a rehearsal space for performing arts groups such as the San Francisco Mime Troupe.\u003c/p>\n\u003cp>In the ’80s, punk bands like the Descendents and Bad Brains performed at the Farm. The \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">original tenants\u003c/a> were evicted in 1987. In its current incarnation, it includes three commercial buildings and one residential one (plus another adjoining residential building that isn’t owned by the Goode family). In addition to Tiny Telephone, the compound is home to punk label Subterranean Records, three art studios, a florist, a bike bag maker, a biotech company and other small businesses.\u003c/p>\n\u003cp>Tiny Telephone’s departure foreshadows what could be another end of an era at the mixed-use creative space. The fate of the Farm has hung in limbo for years as the owners have announced, and then called off, major changes at the property. Currently, they’re awaiting the Planning Department’s approval on a \u003ca href=\"https://socketsite.com/archives/2019/12/bonus-development-on-the-edge-of-the-mission-closer-to-reality.html\" target=\"_blank\" rel=\"noopener noreferrer\">six-story (plus basement) apartment building\u003c/a> that will require the demolition of the three commercial-use buildings in the compound. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve always known that the property is not sustainable the way it is and that sometime it’s gonna change,” Chris Goode tells KQED.\u003c/p>\n\u003cp>“This property has had a lot of interesting uses—whether it’s artists, quirky businesses or people living there—because the rents are super cheap, not by national standards, but by San Francisco standards,” Goode adds. “They’re cheap not because we’re wonderful landlords—though we generally have a good relationship—but it’s a funky, weird piece of property up against the freeway.”\u003c/p>\n\u003cp>Construction won’t start for another five or so years, Goode anticipates, but some of the commercial tenants are already uneasy about what comes next.\u003c/p>\n\u003cp>Sculptor \u003ca href=\"http://mikgaspay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mik Gaspay\u003c/a>, who rents an art studio in one of the buildings, says that he received a verbal notice about the slated development two years ago and a written notice late last summer. “To kind of give it a concrete image of the rendering, and seeing surveyors and architects come by, definitely raises anxiety and the uncertainty of my future here in the city as an artist,” says Gaspay, adding that he and the other artists in the building are on month-to-month leases. “I don’t think I could find a similar place for the same price, and the vibe and proximity to my apartment.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Vanderslice’s part, he says he knew development would one day come to the Farm since he signed his lease in the ’90s, and that San Francisco’s financial pressures are the primary driver behind his decision to shutter the original Tiny Telephone location. He recently relocated to Los Angeles, where he opened a new recording studio with two Tiny Telephone engineers called Grandma’s Couch, but he comes to the Bay Area regularly to tend to his businesses and property in Sonoma County.\u003c/p>\n\u003cp>Despite the upcoming San Francisco closure, he says business at Tiny Telephone isn’t slowing down. In fact, he anticipates his Oakland studio will be in even greater demand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been so busy—we were booked on Christmas for all three rooms this year,” he says, praising the resilience of the Bay Area’s creative community. “There are still tons and tons of people making art.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. [aside postid='arts_13857471']\u003c/p>\n\u003cp>The settlement comes after years of scrutiny of Sofar Sounds’ business model. Since its debut in London in 2009, the startup expanded to hundreds of cities across the globe, including San Francisco, Santa Cruz and San Jose, and became profitable by charging at the door for “secret shows” while using volunteer crews and paying musicians negligible stipends. When KQED’s Emma Silvers broke the story of \u003ca href=\"https://www.kqed.org/arts/13114272/sofar-sounds-house-shows-airbnb-middleman\" target=\"_blank\" rel=\"noopener noreferrer\">Sofar Sounds’ labor practices\u003c/a> in 2017, the company was valued at an estimated $22 million, with investment from Virgin’s Richard Branson. Meanwhile, bands were compensated with videos of their performances (and no cash), and then paid $50 per concert once they became “Sofar alums” and played additional shows.\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” Oakland singer-songwriter Madeline Kinney told KQED at the time. [aside postid='arts_13114272']\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://techcrunch.com/2019/05/21/how-sofar-sounds-works/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch\u003c/a> reported that Sofar upped its fees to $100 per band for a 25 minute set (which can work out to less than minimum wage when factoring in musicians’ travel and rehearsal time). The hosts who volunteered their homes as venues weren’t paid, yet Sofar made at least $1,000 to $1,600 per show, according to the report. In a \u003ca href=\"https://www.sofarsounds.com/blog/articles/how-money-works-at-a-sofar-show\" target=\"_blank\" rel=\"noopener noreferrer\">recent blog post\u003c/a>, Sofar CEO Jim Lucchese promised to increase artist compensation for bigger shows in February 2020. In September 2019, the company also pledged to hire paid, part-time crews to staff its concerts.\u003c/p>\n\u003cp>“When the Department of Labor opened its investigation, Sofar cooperated fully and immediately changed its business model,” the New York State Department of Labor wrote in an announcement. “Sofar now staffs all its events with paid employees. The company also agreed to immediately compensate ambassadors who provided any unpaid work.” [aside postid='arts_13852882']\u003c/p>\n\u003cp>After the settlement was reached, a Sofar spokesperson told \u003cem>Variety\u003c/em>: “Today’s agreement with the New York State Department of Labor stipulates no admission of guilt or wrongdoing and confirms our operating model is fully compliant with New York state law. We thank them for working collaboratively with us in New York, Sofar’s biggest U.S. market. We are excited about resolving these issues and moving forward in 2020, with a continued focus on connecting local and independent musicians with passionate music fans.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. \u003c/p>\u003c/div>",
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