The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign
'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock
Nina Simone, Mary Lou Williams Celebrated in Healdsburg Jazz Event
Sylvester, 'Super Fly,' and 'La Bamba' Added To National Recording Registry
Nina Simone's 'Lovely, Precious Dream' For Black Children
Rock Hall To Induct Nina Simone, Bon Jovi, The Cars, Dire Straits And Moody Blues
Uncovering Great Jazz and R&B of the Past
Sponsored
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Situated at 2640 Grove St (today’s Martin Luther King Jr. Way), the venue had been set up by local concert promoter Mary Ann Pollar the year prior. After Simone and Pollar had finished eating lunch, they were on the way out of the building when they encountered two young girls in the hall, approximately 10 and 12 years old. They immediately caught Simone’s eye.\u003c/p>\n\u003cp>[aside postid='news_11901099']“Aren’t you supposed to be in school now?” Simone asked.\u003c/p>\n\u003cp>“Oh, I don’t have to go to school,” the older child said. “I’m going to be a singer like you.”\u003c/p>\n\u003cp>Simone immediately went into mentor mode. “Out of the next 100 people who walk in here, perhaps 90 can sing as well as I do,” Simone told the girl. “Do you really want to know how to become a singer?”\u003c/p>\n\u003cp>Simone took both girls aside and talked to them for 45 minutes about the importance of education, commitment and working hard towards their goals. Simone made clear that raw talent alone was not enough to make it in the world. It was a stunning — and probably life-changing — interaction for the girls, who had shown up just hoping to catch a glimpse of their hero. A couple of years later, Mary Ann Pollar relayed the story to local journalist Sandra Greenlow.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In one way,” she said, “we probably scared those children half to death. In another though, [Simone] gave them a priceless lesson.”\u003c/p>\n\u003cp>https://twitter.com/NinaSimoneMusic/status/1509542736495529991\u003c/p>\n\u003cp>For the six years it was open, Rainbow Sign was a hotspot for the kind of exchanges that Simone and those Berkeley children had that day. It was a venue that entertained audiences with some of the greatest Black artists of the time — Curtis Mayfield, Marvin Gaye, Pharoah Sanders, Oscar Brown Jr. and Simone amongst them. Writers like Maya Angelou, James Baldwin, Alex Haley, Alice Walker and Joyce Carol Thomas gave readings there. Historians like Samella Lewis and Mrs. W. E. B. DuBois gave talks. Legendary dancer Josephine Baker even appeared in the 200-seat hall.\u003c/p>\n\u003cp>[aside postid='arts_13874853']At the time, Mary Ann tried to explain what made her intimate venue so appealing to such major artists. “It’s an energy,” she said. “It floats in the air. In other places people overhear the performers. In this room, they listen. I don’t know what explains it, but here it’s more than just someone standing on a stage.”\u003c/p>\n\u003cp>Rainbow Sign was much more than a music hall too. It hosted weddings, tea parties, art shows and children’s events. It was the venue at which Shirley Chisholm announced her presidential run. It was a restaurant that served up Mary Ann’s spectacular cooking — smothered steak, fried chicken and dessert pies were all raved-about favorites. The banquet hall hosted the League of Women voters, the NAACP and the Urban League. Rainbow Sign was a place where employees recently released from San Quentin could rub shoulders with Berkeley’s first Black mayor, Warren Widener. Rainbow Sign also served as a movie theater, a venue for film and writing workshops and a floor for dance classes.\u003c/p>\n\u003cp>Mary Ann’s daughter Odette Pollar tells KQED Arts today: “I remember the feeling of Rainbow Sign. It was like walking into somebody’s home. It was very friendly and warm and welcoming. It was a big place but it was always bustling — always something going on. It was fun. Everybody was very accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13927307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png\" alt=\"A Black woman with very short hair smiles broadly, looking off in the distance. She is wearing a 1970s-era blouse with lots of ruffles.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1020x1239.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1265x1536.png 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2.png 1320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ann Pollar. \u003ccite>(Courtesy of Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hen people remember Mary Ann now, it is most frequently through the lens of what she did with Rainbow Sign, which, sadly, closed in 1977 because of financial woes. But Mary Ann was a pillar of the Bay Area community from the time she moved here in 1951.\u003c/p>\n\u003cp>Mary Ann was interested in workers’ rights from a young age. After graduating from Chicago’s Roosevelt University with a degree in labor education, she shared her unionizing knowhow while working with the \u003ca href=\"https://nul.org/\">National Urban League\u003c/a> — a nonprofit that, to this day, works towards economic empowerment, education and civil rights for underserved communities. In the late ’60s, she volunteered with the \u003ca href=\"https://www.un.org/en/observances/un-day\">United Nations Day\u003c/a> Committee, even helping to organize a U.N. birthday party in Oakland in 1968.\u003c/p>\n\u003cp>[aside postid='arts_13887962']“I am a U.N. fan,” she noted at the time. “The whole idea of everybody putting in his two cents’ worth has a lot of meaning for me.”\u003c/p>\n\u003cp>After Rainbow Sign’s closure, Mary Ann went back to this kind of work while employed by AC Transit. For the two decades she worked there, she took part in multiple campaigns to benefit her fellow workers. She encouraged employees to buy savings bonds — a safe and reliable means to invest — and she organized a local union.\u003c/p>\n\u003cp>It was music, however, that first turned Mary Ann into a public figure. In the 1950s, after booking a show for their friend \u003ca href=\"https://www.newyorker.com/culture/culture-desk/how-odetta-revolutionized-folk-music\">Odetta\u003c/a> — a beloved folk and blues musician — Mary Ann and her husband Henry decided to become concert promoters. Under the moniker “Mary Ann Pollar Presents,” the pair booked the likes of Simon and Garfunkel, Taj Mahal, Joan Baez, Frank Zappa, Nancy Wilson, Buffy St. Marie, Nana Mouskouri, Judy Collins, Pete Seeger, Arlo Guthrie, Peter Paul and Mary and, of course, Nina Simone. They were also responsible for booking Bob Dylan’s very first Bay Area concert in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13926549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-1020x778.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969.png 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An October 1969 newspaper ad for upcoming Mary Ann Pollar Presents concerts by Nina Simone, Pete Seeger and Arlo Guthrie. \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert promoters, the Pollars were involved in every single aspect of getting live music to the Bay. It was their job to find appropriate stages when there were very few dedicated live music venues. In the evenings, the couple and a pre-teen Odette would sit around their dining table stuffing envelopes with upcoming concert listings and sending them out to their mailing list. (“I loved it!” Odette says, reminiscing.)\u003c/p>\n\u003cp>The couple handled advertising, ticket printing and distribution, running the box office and even picking up and driving around the artists. After concerts were over, both musicians and audience members would usually resume the party in the Pollars’ living room on Shattuck Avenue. On at least one occasion, singer-songwriter \u003ca href=\"https://www.bobneuwirth.com/\">Bob Neuwith\u003c/a> acted as the designated door guy for the Berkeley home.\u003c/p>\n\u003cp>Because of the dedicated way the couple ran their business, and because they exercised good judgment in their booking, artists grew to trust the name Pollar, and Mary Ann became known well beyond Bay Area music scene.\u003c/p>\n\u003cp>“A lot of people came because they trusted my mom,” Odette says now. “So if there was a new performer and people got a flyer from my mom, people would go, ‘Let’s go. Let’s try it.’ That was very common. In the ’50s and ’60s, this was a small community. Not that many people knew folk music. Everyone was just starting out. Bob Dylan was just starting out!”\u003c/p>\n\u003cp>Though she is often remembered for her love of folk music, Odette mentions that her mom had very eclectic musical tastes — something Mary Ann had been careful to note in her own life.\u003c/p>\n\u003cp>“I’ve never been able to understand why I like folk music so much,” she once said. “I come from a family of Baptist preachers down in Texas on the border of Mexico, so of course I love gospel music. I dig flamenco too. I never had any musical background. I am a listener — really a listener.”\u003c/p>\n\u003cp>[dropcap]T[/dropcap]oday, looking back, Odette speculates that her mother’s childhood may have been the reason Mary Ann carried herself with such confidence and fortitude. Mary Ann grew up in \u003ca href=\"https://missiontexas.us/\">Mission, Texas\u003c/a> — a town so close to the border she grew up speaking fluent Spanish. Mary Ann’s mother, conscious that her daughter would get a better formal education elsewhere, sent Mary Ann to Chicago at the age of 12 to live with relatives. Getting thrown into big city living without her mom by her side proved to be an education for Mary Ann in more ways than one. Mary Ann and her parents would never live in the same place again. Odette’s maternal grandparents died before she could ever meet them.\u003c/p>\n\u003cp>[aside postid='arts_13916612']Mary Ann’s dedication to the Bay Area was not wasted. Even after her death in 1999, her good example and the effects the spaces she created had on others, continue to endure.\u003c/p>\n\u003cp>“Whenever we showed up at the Rainbow Sign, we were greeted with big smiles and warm hugs,” Kamala Harris wrote in her 2019 autobiography, \u003cem>The Truths We Hold\u003c/em>. “Kids like me who spent time at Rainbow Sign were exposed to dozens of extraordinary men and women who showed us what we could become.”\u003c/p>\n\u003cp>“They were risk-takers but not crazy,” Odette says of her parents now. “My dad would say ‘Go to college, get a degree, have fun, do anything you want, but also make sure you have a practical skill to fall back on.’ What I got from my mom,” Odette continues, “is the idea that you could create something from nothing.”\u003c/p>\n\u003cp>Mary Ann Pollar did that over and over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Mary Ann Pollar’s passion was music, but her heart was all about building community.","status":"publish","parent":0,"modified":1705093558,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1684},"headData":{"title":"Mary Ann Pollar: The Life and Times of the Rainbow Sign Founder | KQED","description":"Mary Ann Pollar’s passion was music, but her heart was all about building community.","ogTitle":"The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign","ogDescription":"","ogImgId":"","twTitle":"The Concert Promoter Who Founded Berkeley’s Legendary Rainbow Sign","twDescription":"","twImgId":"","socialTitle":"Mary Ann Pollar: The Life and Times of the Rainbow Sign Founder %%page%% %%sep%% KQED"},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/ba113172-3433-4b29-b684-afee0169b66e/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926548/mary-ann-pollar-presents-rainbow-sign-berkeley-nina-simone-bob-dylan","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ne afternoon in 1972, Nina Simone was getting ready to appear at Rainbow Sign, a Black cultural center that had recently opened in Berkeley. Situated at 2640 Grove St (today’s Martin Luther King Jr. Way), the venue had been set up by local concert promoter Mary Ann Pollar the year prior. After Simone and Pollar had finished eating lunch, they were on the way out of the building when they encountered two young girls in the hall, approximately 10 and 12 years old. They immediately caught Simone’s eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11901099","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Aren’t you supposed to be in school now?” Simone asked.\u003c/p>\n\u003cp>“Oh, I don’t have to go to school,” the older child said. “I’m going to be a singer like you.”\u003c/p>\n\u003cp>Simone immediately went into mentor mode. “Out of the next 100 people who walk in here, perhaps 90 can sing as well as I do,” Simone told the girl. “Do you really want to know how to become a singer?”\u003c/p>\n\u003cp>Simone took both girls aside and talked to them for 45 minutes about the importance of education, commitment and working hard towards their goals. Simone made clear that raw talent alone was not enough to make it in the world. It was a stunning — and probably life-changing — interaction for the girls, who had shown up just hoping to catch a glimpse of their hero. A couple of years later, Mary Ann Pollar relayed the story to local journalist Sandra Greenlow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In one way,” she said, “we probably scared those children half to death. In another though, [Simone] gave them a priceless lesson.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1509542736495529991"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For the six years it was open, Rainbow Sign was a hotspot for the kind of exchanges that Simone and those Berkeley children had that day. It was a venue that entertained audiences with some of the greatest Black artists of the time — Curtis Mayfield, Marvin Gaye, Pharoah Sanders, Oscar Brown Jr. and Simone amongst them. Writers like Maya Angelou, James Baldwin, Alex Haley, Alice Walker and Joyce Carol Thomas gave readings there. Historians like Samella Lewis and Mrs. W. E. B. DuBois gave talks. Legendary dancer Josephine Baker even appeared in the 200-seat hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13874853","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the time, Mary Ann tried to explain what made her intimate venue so appealing to such major artists. “It’s an energy,” she said. “It floats in the air. In other places people overhear the performers. In this room, they listen. I don’t know what explains it, but here it’s more than just someone standing on a stage.”\u003c/p>\n\u003cp>Rainbow Sign was much more than a music hall too. It hosted weddings, tea parties, art shows and children’s events. It was the venue at which Shirley Chisholm announced her presidential run. It was a restaurant that served up Mary Ann’s spectacular cooking — smothered steak, fried chicken and dessert pies were all raved-about favorites. The banquet hall hosted the League of Women voters, the NAACP and the Urban League. Rainbow Sign was a place where employees recently released from San Quentin could rub shoulders with Berkeley’s first Black mayor, Warren Widener. Rainbow Sign also served as a movie theater, a venue for film and writing workshops and a floor for dance classes.\u003c/p>\n\u003cp>Mary Ann’s daughter Odette Pollar tells KQED Arts today: “I remember the feeling of Rainbow Sign. It was like walking into somebody’s home. It was very friendly and warm and welcoming. It was a big place but it was always bustling — always something going on. It was fun. Everybody was very accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13927307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png\" alt=\"A Black woman with very short hair smiles broadly, looking off in the distance. She is wearing a 1970s-era blouse with lots of ruffles.\" width=\"800\" height=\"972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1020x1239.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-768x933.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2-1265x1536.png 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-03-at-5.14.18-PM_Edit2.png 1320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Ann Pollar. \u003ccite>(Courtesy of Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen people remember Mary Ann now, it is most frequently through the lens of what she did with Rainbow Sign, which, sadly, closed in 1977 because of financial woes. But Mary Ann was a pillar of the Bay Area community from the time she moved here in 1951.\u003c/p>\n\u003cp>Mary Ann was interested in workers’ rights from a young age. After graduating from Chicago’s Roosevelt University with a degree in labor education, she shared her unionizing knowhow while working with the \u003ca href=\"https://nul.org/\">National Urban League\u003c/a> — a nonprofit that, to this day, works towards economic empowerment, education and civil rights for underserved communities. In the late ’60s, she volunteered with the \u003ca href=\"https://www.un.org/en/observances/un-day\">United Nations Day\u003c/a> Committee, even helping to organize a U.N. birthday party in Oakland in 1968.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13887962","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I am a U.N. fan,” she noted at the time. “The whole idea of everybody putting in his two cents’ worth has a lot of meaning for me.”\u003c/p>\n\u003cp>After Rainbow Sign’s closure, Mary Ann went back to this kind of work while employed by AC Transit. For the two decades she worked there, she took part in multiple campaigns to benefit her fellow workers. She encouraged employees to buy savings bonds — a safe and reliable means to invest — and she organized a local union.\u003c/p>\n\u003cp>It was music, however, that first turned Mary Ann into a public figure. In the 1950s, after booking a show for their friend \u003ca href=\"https://www.newyorker.com/culture/culture-desk/how-odetta-revolutionized-folk-music\">Odetta\u003c/a> — a beloved folk and blues musician — Mary Ann and her husband Henry decided to become concert promoters. Under the moniker “Mary Ann Pollar Presents,” the pair booked the likes of Simon and Garfunkel, Taj Mahal, Joan Baez, Frank Zappa, Nancy Wilson, Buffy St. Marie, Nana Mouskouri, Judy Collins, Pete Seeger, Arlo Guthrie, Peter Paul and Mary and, of course, Nina Simone. They were also responsible for booking Bob Dylan’s very first Bay Area concert in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13926549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-800x610.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-1020x778.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969-768x586.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Mary-Ann-Pollar-Presents-Ad-Oct-1969.png 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An October 1969 newspaper ad for upcoming Mary Ann Pollar Presents concerts by Nina Simone, Pete Seeger and Arlo Guthrie. \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As concert promoters, the Pollars were involved in every single aspect of getting live music to the Bay. It was their job to find appropriate stages when there were very few dedicated live music venues. In the evenings, the couple and a pre-teen Odette would sit around their dining table stuffing envelopes with upcoming concert listings and sending them out to their mailing list. (“I loved it!” Odette says, reminiscing.)\u003c/p>\n\u003cp>The couple handled advertising, ticket printing and distribution, running the box office and even picking up and driving around the artists. After concerts were over, both musicians and audience members would usually resume the party in the Pollars’ living room on Shattuck Avenue. On at least one occasion, singer-songwriter \u003ca href=\"https://www.bobneuwirth.com/\">Bob Neuwith\u003c/a> acted as the designated door guy for the Berkeley home.\u003c/p>\n\u003cp>Because of the dedicated way the couple ran their business, and because they exercised good judgment in their booking, artists grew to trust the name Pollar, and Mary Ann became known well beyond Bay Area music scene.\u003c/p>\n\u003cp>“A lot of people came because they trusted my mom,” Odette says now. “So if there was a new performer and people got a flyer from my mom, people would go, ‘Let’s go. Let’s try it.’ That was very common. In the ’50s and ’60s, this was a small community. Not that many people knew folk music. Everyone was just starting out. Bob Dylan was just starting out!”\u003c/p>\n\u003cp>Though she is often remembered for her love of folk music, Odette mentions that her mom had very eclectic musical tastes — something Mary Ann had been careful to note in her own life.\u003c/p>\n\u003cp>“I’ve never been able to understand why I like folk music so much,” she once said. “I come from a family of Baptist preachers down in Texas on the border of Mexico, so of course I love gospel music. I dig flamenco too. I never had any musical background. I am a listener — really a listener.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>oday, looking back, Odette speculates that her mother’s childhood may have been the reason Mary Ann carried herself with such confidence and fortitude. Mary Ann grew up in \u003ca href=\"https://missiontexas.us/\">Mission, Texas\u003c/a> — a town so close to the border she grew up speaking fluent Spanish. Mary Ann’s mother, conscious that her daughter would get a better formal education elsewhere, sent Mary Ann to Chicago at the age of 12 to live with relatives. Getting thrown into big city living without her mom by her side proved to be an education for Mary Ann in more ways than one. Mary Ann and her parents would never live in the same place again. Odette’s maternal grandparents died before she could ever meet them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916612","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Mary Ann’s dedication to the Bay Area was not wasted. Even after her death in 1999, her good example and the effects the spaces she created had on others, continue to endure.\u003c/p>\n\u003cp>“Whenever we showed up at the Rainbow Sign, we were greeted with big smiles and warm hugs,” Kamala Harris wrote in her 2019 autobiography, \u003cem>The Truths We Hold\u003c/em>. “Kids like me who spent time at Rainbow Sign were exposed to dozens of extraordinary men and women who showed us what we could become.”\u003c/p>\n\u003cp>“They were risk-takers but not crazy,” Odette says of her parents now. “My dad would say ‘Go to college, get a degree, have fun, do anything you want, but also make sure you have a practical skill to fall back on.’ What I got from my mom,” Odette continues, “is the idea that you could create something from nothing.”\u003c/p>\n\u003cp>Mary Ann Pollar did that over and over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926548/mary-ann-pollar-presents-rainbow-sign-berkeley-nina-simone-bob-dylan","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_888","arts_1270","arts_638","arts_8167","arts_10278","arts_2415","arts_2154","arts_21841"],"featImg":"arts_13927306","label":"arts_8978"},"arts_13899714":{"type":"posts","id":"arts_13899714","meta":{"index":"posts_1591205157","site":"arts","id":"13899714","score":null,"sort":[1625162137000]},"guestAuthors":[],"slug":"summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock","title":"'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock","publishDate":1625162137,"format":"standard","headTitle":"‘Summer of Soul’ Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-siC9cugqA\u003c/p>\n\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>[aside postid='arts_13889915']“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Questlove revives 1969's Harlem Cultural Festival—six weekends of soul, R&B, blues and jazz. It drew more than 300,000 people.","status":"publish","parent":0,"modified":1705008117,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1088},"headData":{"title":"'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock | KQED","description":"Questlove revives 1969's Harlem Cultural Festival—six weekends of soul, R&B, blues and jazz. It drew more than 300,000 people.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Eric Deggans","nprImageAgency":"Searchlight Pictures/20th Century Studios","nprStoryId":"1010306918","nprApiLink":"http://api.npr.org/query?id=1010306918&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/07/01/1010306918/summer-of-soul-questlove-movie-review-harlem-cultural-festival?ft=nprml&f=1010306918","nprRetrievedStory":"1","nprPubDate":"Thu, 01 Jul 2021 05:01:00 -0400","nprStoryDate":"Thu, 01 Jul 2021 05:01:00 -0400","nprLastModifiedDate":"Thu, 01 Jul 2021 05:01:00 -0400","templateType":"standard","featuredImageType":"standard","path":"/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1-siC9cugqA'\n title='//www.youtube.com/embed/1-siC9cugqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894392","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889915","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock","authors":["byline_arts_13899714"],"categories":["arts_1","arts_7862","arts_74","arts_69"],"tags":["arts_13672","arts_977","arts_2154"],"affiliates":["arts_137"],"featImg":"arts_13899715","label":"arts_137"},"arts_13894421":{"type":"posts","id":"arts_13894421","meta":{"index":"posts_1591205157","site":"arts","id":"13894421","score":null,"sort":[1616522498000]},"guestAuthors":[],"slug":"nina-simone-mary-lou-williams-celebrated-in-healdsburg-jazz-event","title":"Nina Simone, Mary Lou Williams Celebrated in Healdsburg Jazz Event","publishDate":1616522498,"format":"standard","headTitle":"Nina Simone, Mary Lou Williams Celebrated in Healdsburg Jazz Event | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>For Women’s History Month, the Healdsburg Jazz Festival presents \u003cem>Convergence\u003c/em>, a virtual concert event celebrating iconic musicians Mary Lou Williams and Nina Simone through an imagined depiction of their first meeting.\u003c/p>\n\u003cp>The concert recounts a fictitious meeting of Williams and Simone in a lobby in Paris. When their paths cross, both artists are about to be honored by the French government with the National Order of Merit awards. Featuring original music in addition to renditions of the pair’s most well-known songs interwoven with dialogue and commentary, the event celebrates the cultural and musical contributions of the two artists. \u003c/p>\n\u003cp>Both Williams and Simone began playing the piano at around the age of three as children born to large families in the American south. While Williams was Simone’s senior by over two decades and their careers differed greatly, the two played during overlapping time periods. Both produced expansive bodies of work.[aside postID='arts_13885595']\u003c/p>\n\u003cp>\u003cem>Convergence\u003c/em> features contemporary pianists Victoria Theodore in the role of Nina Simone and Tammy L. Hall in the role of Mary Lou Williams. Hall is also the Healdsburg Jazz 2021 Artist in Residence, and has been playing piano since the age of four. Her career as a pianist, composer, and educator brought her from her hometown of Dallas, Texas to the Bay Area in 1979. \u003c/p>\n\u003cp>Her co-star Theodore began her journey as a pianist and singer in her teens as part of the UC Berkeley Young Musicians Program and the Oakland Youth Chorus, and in 2016 joined Beyoncé’s Formation World Tour as a keyboardist. Theodore also contributes original music to \u003cem>Convergence\u003c/em>. Hall and Theodore are joined onstage by bassist Ruth Davies and drummer Sylvia Cuenca, as well as Oakland-born Grammy-nominated spoken word artist RyanNicole Austin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Kevin Johnson and filmed at Opus Studios in Oakland, the concert also serves as an educational asset. Healdsburg Jazz has created an original resource guide celebrating the contributions of women to the evolution and history of jazz music as well as a compilation of photos, interviews, and other educational materials in tandem with the \u003cem>Convergence\u003c/em> concert event. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Convergence’ airs Wednesday, March 31 at 7pm. Tickets start at $10; a “Dinner Show To Go for Four” package with dinner for four from Spoonbar is available for $200. \u003ca href=\"https://healdsburgjazz.org/convergence-video-concert/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'Convergence' imagines a meeting between the jazz greats with dialogue and music.","status":"publish","parent":0,"modified":1705019305,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":396},"headData":{"title":"Nina Simone, Mary Lou Williams Celebrated in Healdsburg Jazz Event | KQED","description":"'Convergence' imagines a meeting between the jazz greats with dialogue and music.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13894421/nina-simone-mary-lou-williams-celebrated-in-healdsburg-jazz-event","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Women’s History Month, the Healdsburg Jazz Festival presents \u003cem>Convergence\u003c/em>, a virtual concert event celebrating iconic musicians Mary Lou Williams and Nina Simone through an imagined depiction of their first meeting.\u003c/p>\n\u003cp>The concert recounts a fictitious meeting of Williams and Simone in a lobby in Paris. When their paths cross, both artists are about to be honored by the French government with the National Order of Merit awards. Featuring original music in addition to renditions of the pair’s most well-known songs interwoven with dialogue and commentary, the event celebrates the cultural and musical contributions of the two artists. \u003c/p>\n\u003cp>Both Williams and Simone began playing the piano at around the age of three as children born to large families in the American south. While Williams was Simone’s senior by over two decades and their careers differed greatly, the two played during overlapping time periods. Both produced expansive bodies of work.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13885595","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Convergence\u003c/em> features contemporary pianists Victoria Theodore in the role of Nina Simone and Tammy L. Hall in the role of Mary Lou Williams. Hall is also the Healdsburg Jazz 2021 Artist in Residence, and has been playing piano since the age of four. Her career as a pianist, composer, and educator brought her from her hometown of Dallas, Texas to the Bay Area in 1979. \u003c/p>\n\u003cp>Her co-star Theodore began her journey as a pianist and singer in her teens as part of the UC Berkeley Young Musicians Program and the Oakland Youth Chorus, and in 2016 joined Beyoncé’s Formation World Tour as a keyboardist. Theodore also contributes original music to \u003cem>Convergence\u003c/em>. Hall and Theodore are joined onstage by bassist Ruth Davies and drummer Sylvia Cuenca, as well as Oakland-born Grammy-nominated spoken word artist RyanNicole Austin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by Kevin Johnson and filmed at Opus Studios in Oakland, the concert also serves as an educational asset. Healdsburg Jazz has created an original resource guide celebrating the contributions of women to the evolution and history of jazz music as well as a compilation of photos, interviews, and other educational materials in tandem with the \u003cem>Convergence\u003c/em> concert event. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Convergence’ airs Wednesday, March 31 at 7pm. Tickets start at $10; a “Dinner Show To Go for Four” package with dinner for four from Spoonbar is available for $200. \u003ca href=\"https://healdsburgjazz.org/convergence-video-concert/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894421/nina-simone-mary-lou-williams-celebrated-in-healdsburg-jazz-event","authors":["11734"],"programs":["arts_140"],"categories":["arts_1","arts_7862","arts_69"],"tags":["arts_1420","arts_2154","arts_585"],"featImg":"arts_13894424","label":"arts_140"},"arts_13853320":{"type":"posts","id":"arts_13853320","meta":{"index":"posts_1591205157","site":"arts","id":"13853320","score":null,"sort":[1553101733000]},"guestAuthors":[],"slug":"sylvester-super-fly-and-la-bamba-added-to-national-recording-registry","title":"Sylvester, 'Super Fly,' and 'La Bamba' Added To National Recording Registry","publishDate":1553101733,"format":"standard","headTitle":"Sylvester, ‘Super Fly,’ and ‘La Bamba’ Added To National Recording Registry | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"As it has annually since 2002, the Library of Congress announced a wide variety of recordings it has selected as culturally significant and worthy of preservation.","status":"publish","parent":0,"modified":1705026457,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":815},"headData":{"title":"Sylvester, 'Super Fly,' and 'La Bamba' Added To National Recording Registry | KQED","description":"As it has annually since 2002, the Library of Congress announced a wide variety of recordings it has selected as culturally significant and worthy of preservation.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"John D. Kisch/Separate Cinema Ar","nprByline":"Andrew Flanagan","nprImageAgency":"Getty Images","nprStoryId":"705072849","nprApiLink":"http://api.npr.org/query?id=705072849&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/03/20/705072849/jay-z-super-fly-la-bamba-added-to-national-recording-registry?ft=nprml&f=705072849","nprRetrievedStory":"1","nprPubDate":"Wed, 20 Mar 2019 11:51:00 -0400","nprStoryDate":"Wed, 20 Mar 2019 11:14:54 -0400","nprLastModifiedDate":"Wed, 20 Mar 2019 11:51:54 -0400","path":"/arts/13853320/sylvester-super-fly-and-la-bamba-added-to-national-recording-registry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853320/sylvester-super-fly-and-la-bamba-added-to-national-recording-registry","authors":["byline_arts_13853320"],"categories":["arts_69","arts_235","arts_75"],"tags":["arts_3070","arts_3226","arts_2154"],"affiliates":["arts_137"],"featImg":"arts_13853321","label":"arts_137"},"arts_13848338":{"type":"posts","id":"arts_13848338","meta":{"index":"posts_1591205157","site":"arts","id":"13848338","score":null,"sort":[1546969197000]},"guestAuthors":[],"slug":"nina-simones-lovely-precious-dream-for-black-children","title":"Nina Simone's 'Lovely, Precious Dream' For Black Children","publishDate":1546969197,"format":"image","headTitle":"Nina Simone’s ‘Lovely, Precious Dream’ For Black Children | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>[contextly_sidebar id=”Ha5svAAi8Zslyjc3JqBqXfDabF8MFrw1″]\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>[contextly_sidebar id=”DMf1ODGcpbeCNWOWhrvuSN4UqRmuD85q”]\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>[contextly_sidebar id=”UJzjaVKBf7EWvsAG4JIywoh6RlrhfnBa”]\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>[contextly_sidebar id=”8bxwzliUPiq2MOthqTcnHy39VWFV2er5″]\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"With \"To Be Young, Gifted and Black,\" Simone aimed to capture joy in black identity amid bloody civil rights struggle. The song was addressed to children, but adults caught on, too.","status":"publish","parent":0,"modified":1705026783,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1223},"headData":{"title":"Nina Simone's 'Lovely, Precious Dream' For Black Children | KQED","description":"With "To Be Young, Gifted and Black," Simone aimed to capture joy in black identity amid bloody civil rights struggle. The song was addressed to children, but adults caught on, too.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"David Redfern","nprByline":"Noel King, Walter Ray Watson","nprImageAgency":"Redferns/Getty Images","nprStoryId":"683021559","nprApiLink":"http://api.npr.org/query?id=683021559&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem?ft=nprml&f=683021559","nprRetrievedStory":"1","nprPubDate":"Tue, 08 Jan 2019 08:22:00 -0500","nprStoryDate":"Tue, 08 Jan 2019 04:57:00 -0500","nprLastModifiedDate":"Tue, 08 Jan 2019 08:22:54 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190108_me_nina_simones_lovely_precious_dream_for_black_children.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=423&p=3&story=683021559&ft=nprml&f=683021559","nprAudioM3u":"http://api.npr.org/m3u/1683144212-a94baa.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=423&p=3&story=683021559&ft=nprml&f=683021559","audioTrackLength":424,"path":"/arts/13848338/nina-simones-lovely-precious-dream-for-black-children","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/01/20190108_me_nina_simones_lovely_precious_dream_for_black_children.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=423&p=3&story=683021559&ft=nprml&f=683021559","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/683021559/683144212\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>By the early 1960s, \u003ca href=\"https://www.npr.org/artists/15396720/nina-simone\">Nina Simone\u003c/a> was well-known to the world as a singer, songwriter and classically trained pianist. But around 1963, as race relations in America hit a boiling point, she made a sharp turn in her music — toward activism.\u003c/p>\n\u003cp>First, there was the murder of Medgar Evers that summer. The civil rights leader was killed by a Klansman, shot in the back in his own driveway in Mississippi. Three months later, in Birmingham, Ala., four black girls were killed in a church bombing. In response to the grief and outrage, Simone wrote a powerful song with unsparing lyrics and a provocative title: “\u003ca href=\"https://www.youtube.com/watch?v=X8X8RikEFnI\">Mississippi Goddam\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, in 1968, she identified a different side of the struggle. The Black Power movement was rising. Pride in being black and beautiful was expressed in big afros and raised fists. She aimed to capture that moment of joy in black identity — and though the song she wrote was addressed to children, it became an anthem for adults, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=RTGiKYqk0gY\">To Be Young, Gifted and Black\u003c/a>” was a dedication to Nina Simone’s friend, the playwright Lorraine Hansberry, who wrote \u003cem>A Raisin in the Sun\u003c/em>. Hansberry was the first black woman to have a play performed on Broadway; she and Simone bonded over civil rights and radical politics.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then, in January 1965, Hansberry died of cancer at the age of 34. A few months before, she had told a group of student essay winners, “I wanted to be able to come here and speak with you on this occasion because you are young, gifted and black.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - To Be Young, Gifted and Black (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RTGiKYqk0gY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Those words stuck in Nina Simone’s head. \u003ca href=\"https://www.youtube.com/watch?v=_hdVFiANBTk\">In an interview\u003c/a> recorded at historically black Morehouse College in Atlanta, she said, “I remember getting a feeling in my body, and I said, ‘That’s it: to be young, gifted and black. That’s all.’ And sat down at the piano and made up a tune. It just flowed out of me.”\u003c/p>\n\u003cp>Simone wrote the music, while the words came from her bandleader, Weldon Irvine. He reportedly sat writing the lyrics in his car, tying up a busy New York City intersection for 15 minutes as he scribbled on napkins and a matchbook cover. Simone had told him to keep it simple — write something that “will make black children all over the world feel good about themselves, forever.”\u003c/p>\n\u003cblockquote>\u003cp>\u003cem> To be young, gifted and black\u003cbr>\nOh, what a lovely precious dream\u003cbr>\nTo be young, gifted and black\u003cbr>\nOpen your heart to what I mean\u003cbr>\nIn the whole world you know\u003cbr>\nThere are a million boys and girls\u003cbr>\nWho are young, gifted and black\u003cbr>\nAnd that’s a fact! \u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“To Be Young, Gifted and Black” caught on, and other artists quickly recorded it. Soul singer \u003ca href=\"https://www.npr.org/artists/15203568/donny-hathaway\">Donny Hathaway\u003c/a> released a cover of the song in 1970. \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\">Aretha Franklin\u003c/a> made own version the title track of an album she released in 1972.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/17992281/meshell-nedgeocello\">Meshell Ndegeocello\u003c/a>, a 10-time Grammy nominee active since the early ’90s, released the album \u003cem>Pour une âme souveraine: A Dedication to Nina Simone\u003c/em> in 2012. She says when she was growing up, there really was a need for the song.\u003c/p>\n\u003cp>“It’s the first time I heard those words said about young black people,” she says. “You know, being of color, you did not feel that you were gifted — and especially if you’re black.”\u003c/p>\n\u003cp>She says she first heard the song while attending middle school in a suburb of Washington, D.C. Her teacher, a white woman, played it for a class of mostly black students.\u003c/p>\n\u003cp>“In D.C., music wasn’t so segregated. I mean, I love Burt Bacharach, and I grew up listening to The Carpenters. But, she also played me, like, Bob Marley, Salif Keita. It was the beginning of my awareness of Africa,” Ndegeocello says. “And it was somewhere in one of those classes, or Black History Month, where she was like, ‘We’re gonna try to perform this song in a choir setting.’ ”\u003c/p>\n\u003cp>Last year, Nina Simone’s profile was raised again as she was inducted into the Rock & Roll Hall of Fame, and her childhood home was declared a national treasure by the National Trust for Historic Preservation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/122252881/somi\">Somi\u003c/a>, another contemporary artist, honored the legend in her own way: performing and curating an evening of music honoring Nina Simone and Miriam Makeba at Jazz at Lincoln Center. The event was called Singing Protest & Memory.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Somi was born in Illinois; her parents were immigrants from Rwanda and Uganda. She says her family encouraged her to take pride in her African heritage — she didn’t really need a song do that. Which prompts a question: Is the song still necessary?\u003c/p>\n\u003cp>“Necessary is a tricky word, right? Is a song ‘necessary’? I think the message is absolutely still necessary,” Somi says. “I think when, you look at the March [for] Our Lives that recently happened in Washington, and Naomi Wadler coming up there and feeling as though she had to speak, that speaks to the need for young black youth to be seen, to be heard.”\u003c/p>\n\u003cp>Eleven-year-old Naomi Wadler spoke to a Washington, D.C., crowd during the nationally televised demonstration, saying, “I am here to acknowledge and represent the African-American girls whose stories don’t make the front page of every national newspaper.” She was met by roaring applause.\u003c/p>\n\u003cp>Meshell Ndegeocello invited singer \u003ca href=\"https://www.npr.org/artists/90386077/cody-chesnutt\">Cody ChesnuTT\u003c/a> to sing on her version of “To Be Young, Gifted and Black” for \u003cem>Pour une âme souveraine\u003c/em>. The mother of two sons, she says she had a painful story from the news on her mind: “This was during the time of the whole Trayvon Martin incident.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"To Be Young, Gifted and Black (feat. Cody Chesnutt)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/wjNs6KOOwmM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Martin, an unarmed African-American teenager, was fatally shot on Feb. 26, 2012 by neighborhood watch volunteer George Zimmerman in Sanford, Fla. Zimmerman was tried and acquitted for second degree murder. “And I was affected as a mother. And so for some reason, I felt it should be voiced with a male presence, a strong male presence,” Ndegeocello says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s an inner anthem, I think — you know, it’s existing on a subconscious level,” she adds. “I only hope it makes you ask the question [of] why it had to be written. That’s more important than anything else.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nina Simone said she wanted this song to inspire black children to feel good about themselves forever. Maybe that’s a lot to ask from one song. But that message is as important as it was 50 years ago, when “To Be Young, Gifted and Black” first became an American anthem.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nina+Simone%27s+%27Lovely%2C+Precious+Dream%27+For+Black+Children&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848338/nina-simones-lovely-precious-dream-for-black-children","authors":["byline_arts_13848338"],"categories":["arts_835","arts_69","arts_235"],"tags":["arts_5426","arts_3156","arts_2733","arts_2154","arts_596","arts_1072"],"affiliates":["arts_137"],"featImg":"arts_13848339","label":"arts_137"},"arts_13817317":{"type":"posts","id":"arts_13817317","meta":{"index":"posts_1591205157","site":"arts","id":"13817317","score":null,"sort":[1513184338000]},"guestAuthors":[],"slug":"rock-hall-to-induct-nina-simone-bon-jovi-the-cars-dire-straits-and-moody-blues","title":"Rock Hall To Induct Nina Simone, Bon Jovi, The Cars, Dire Straits And Moody Blues","publishDate":1513184338,"format":"standard","headTitle":"Rock Hall To Induct Nina Simone, Bon Jovi, The Cars, Dire Straits And Moody Blues | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Nina Simone, Bon Jovi, The Moody Blues, The Cars and Dire Straits — along with guitar pioneer Sister Rosetta Tharpe, with an award for early influence — have been named as next year’s inductees to the Rock and Roll Hall of Fame in Cleveland.\u003c/p>\n\u003cp>From a field of 19 nominees that included Radiohead — in its first year of eligibility — Kate Bush, Depeche Mode and The MC5, the inductees were chosen through a mix of 900 votes from members of the music industry as well as fan votes tallied in aggregate “alongside the other ballots,” as the hall \u003ca href=\"https://www.rockhall.com/class-2018-inductees\">explains\u003c/a>. Artists can be nominated 25 years after the release of their first commercial recording.\u003c/p>\n\u003cp>“I wasn’t surprised, but I was pleased,” Jon Bon Jovi \u003ca href=\"https://www.nytimes.com/2017/12/13/arts/music/rock-roll-hall-fame-bon-jovi-nina-simone-cars.html?smid=tw-nytimes&smtyp=cur\">told The New York Times\u003c/a> of his eponymous band’s induction.\u003c/p>\n\u003cp>The institution began annual inductions in 1986 at the Waldorf Astoria in New York and held the first ceremony in its Cleveland headquarters in 1997, shifting locations in-between those years. It plans, beginning next year, to \u003ca href=\"https://www.clevescene.com/scene-and-heard/archives/2016/04/08/rock-hall-president-induction-to-take-place-in-cleveland-every-other-year-beginning-in-2018\">alternate\u003c/a> between Cleveland and New York for the annual event.\u003c/p>\n\u003cp>The induction ceremony will be held April 14 in Cleveland and aired on HBO and SiriusXM. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rock+Hall+To+Induct+Nina+Simone%2C+Bon+Jovi%2C+The+Cars%2C+Dire+Straits+And+Moody+Blues&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"From a field of 19 strong contenders, the Cleveland-based institution has named its newest entrants.","status":"publish","parent":0,"modified":1705028922,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":220},"headData":{"title":"Rock Hall To Induct Nina Simone, Bon Jovi, The Cars, Dire Straits And Moody Blues | KQED","description":"From a field of 19 strong contenders, the Cleveland-based institution has named its newest entrants.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"David Redfern","nprByline":"Andrew Flanagan","nprImageAgency":"Redferns/Getty Images","nprStoryId":"570411500","nprApiLink":"http://api.npr.org/query?id=570411500&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/thetwo-way/2017/12/13/570411500/rock-hall-to-induct-nina-simone-bon-jovi-the-cars-dire-straits-and-moody-blues?ft=nprml&f=570411500","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Dec 2017 11:10:00 -0500","nprStoryDate":"Wed, 13 Dec 2017 09:36:00 -0500","nprLastModifiedDate":"Wed, 13 Dec 2017 11:10:01 -0500","path":"/arts/13817317/rock-hall-to-induct-nina-simone-bon-jovi-the-cars-dire-straits-and-moody-blues","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nina Simone, Bon Jovi, The Moody Blues, The Cars and Dire Straits — along with guitar pioneer Sister Rosetta Tharpe, with an award for early influence — have been named as next year’s inductees to the Rock and Roll Hall of Fame in Cleveland.\u003c/p>\n\u003cp>From a field of 19 nominees that included Radiohead — in its first year of eligibility — Kate Bush, Depeche Mode and The MC5, the inductees were chosen through a mix of 900 votes from members of the music industry as well as fan votes tallied in aggregate “alongside the other ballots,” as the hall \u003ca href=\"https://www.rockhall.com/class-2018-inductees\">explains\u003c/a>. Artists can be nominated 25 years after the release of their first commercial recording.\u003c/p>\n\u003cp>“I wasn’t surprised, but I was pleased,” Jon Bon Jovi \u003ca href=\"https://www.nytimes.com/2017/12/13/arts/music/rock-roll-hall-fame-bon-jovi-nina-simone-cars.html?smid=tw-nytimes&smtyp=cur\">told The New York Times\u003c/a> of his eponymous band’s induction.\u003c/p>\n\u003cp>The institution began annual inductions in 1986 at the Waldorf Astoria in New York and held the first ceremony in its Cleveland headquarters in 1997, shifting locations in-between those years. It plans, beginning next year, to \u003ca href=\"https://www.clevescene.com/scene-and-heard/archives/2016/04/08/rock-hall-president-induction-to-take-place-in-cleveland-every-other-year-beginning-in-2018\">alternate\u003c/a> between Cleveland and New York for the annual event.\u003c/p>\n\u003cp>The induction ceremony will be held April 14 in Cleveland and aired on HBO and SiriusXM. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rock+Hall+To+Induct+Nina+Simone%2C+Bon+Jovi%2C+The+Cars%2C+Dire+Straits+And+Moody+Blues&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817317/rock-hall-to-induct-nina-simone-bon-jovi-the-cars-dire-straits-and-moody-blues","authors":["byline_arts_13817317"],"categories":["arts_69","arts_235"],"tags":["arts_1118","arts_2154","arts_596","arts_905"],"featImg":"arts_13817318","label":"arts"},"arts_13805816":{"type":"posts","id":"arts_13805816","meta":{"index":"posts_1591205157","site":"arts","id":"13805816","score":null,"sort":[1502950609000]},"guestAuthors":[],"slug":"uncovering-great-jazz-and-rb-of-the-past","title":"Uncovering Great Jazz and R&B of the Past","publishDate":1502950609,"format":"standard","headTitle":"Uncovering Great Jazz and R&B of the Past | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Undercover Presents has carved out a unique place in the Bay Area music scene, identifying great albums of the past and finding sympathetic musicians to reinterpret the music anew for modern audiences. This time they’ve hooked up with SFJAZZ to present four nights of classics: the music of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals. The Yerba Buena Center for the Arts, where this week’s Do List co-host Marc Bamuthi Joseph serves as the curator of art, hosted Undercover’s \u003cem>The Miseducation of Lauryn Hill\u003c/em> show last year — and Joseph says it was epic.\u003c/p>\n\u003cp>Undercover and SFJAZZ have assembled a 16 different acts for this four-day event running Aug. 17–20, including Miss Faye Carol, Bang Data, Kev Choice, the Broun Fellinis, the Oakland School for the Arts, Moetar, Katdelic and more. Grab your tickets quick — the Nina Simone night is already sold out. Runs Thursday through Sunday, Aug. 17–20, at SFJAZZ; \u003ca href=\"http://www.undercoverpresents.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a> or \u003ca href=\"https://sfjazz.org/events/sessions/2017/ray-charles\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Across four nights at SFJAZZ, local musicians cover seminal music from Ray Charles, Nina Simone, Muscle Shoals and Miles Davis.","status":"publish","parent":0,"modified":1705029754,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":174},"headData":{"title":"Uncovering Great Jazz and R&B of the Past | KQED","description":"Across four nights at SFJAZZ, local musicians cover seminal music from Ray Charles, Nina Simone, Muscle Shoals and Miles Davis.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13805816/uncovering-great-jazz-and-rb-of-the-past","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Undercover Presents has carved out a unique place in the Bay Area music scene, identifying great albums of the past and finding sympathetic musicians to reinterpret the music anew for modern audiences. This time they’ve hooked up with SFJAZZ to present four nights of classics: the music of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals. The Yerba Buena Center for the Arts, where this week’s Do List co-host Marc Bamuthi Joseph serves as the curator of art, hosted Undercover’s \u003cem>The Miseducation of Lauryn Hill\u003c/em> show last year — and Joseph says it was epic.\u003c/p>\n\u003cp>Undercover and SFJAZZ have assembled a 16 different acts for this four-day event running Aug. 17–20, including Miss Faye Carol, Bang Data, Kev Choice, the Broun Fellinis, the Oakland School for the Arts, Moetar, Katdelic and more. Grab your tickets quick — the Nina Simone night is already sold out. Runs Thursday through Sunday, Aug. 17–20, at SFJAZZ; \u003ca href=\"http://www.undercoverpresents.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a> or \u003ca href=\"https://sfjazz.org/events/sessions/2017/ray-charles\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13805816/uncovering-great-jazz-and-rb-of-the-past","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1420","arts_2154","arts_2048","arts_626"],"featImg":"arts_13805824","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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