Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera
Days After His Death, a Dance Group Stages a Long-Planned Celebration of Burt Bacharach's Music
An All-Star Jazz Lineup Explores the Great Migration in Berkeley
Stories and Songs From 'Hedwig' By the Star of the Film
Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall
Jordi Savall Explores the Musical Legacy of 'The Routes of Slavery'
A Conductor Plays Politics and Leads a Great Orchestra
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Over the years, she's talked with Kamau Bell, David Byrne, Kamala Harris, Tony Kushner, Armistead Maupin, Van Dyke Parks, Arnold Schwarzenegger and Tommie Smith, among others.\r\n\r\nBefore all this, she hosted \u003cem>The California Report\u003c/em> for 7+ years, reporting on topics like \u003ca href=\"https://soundcloud.com/rmyrow/on-a-mission-to-reform-assisted-living\">assisted living facilities\u003c/a>, the \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2014/12/01/367703789/amazon-unleashes-robot-army-to-send-your-holiday-packages-faster\">robot takeover\u003c/a> of Amazon, and \u003ca href=\"https://www.kqed.org/bayareabites/50822/in-search-of-the-chocolate-persimmon\" rel=\"noopener noreferrer\">chocolate persimmons\u003c/a>.\r\n\r\nAwards? Sure: Peabody, Edward R. Murrow, Regional Edward R. Murrow, RTNDA, Northern California RTNDA, SPJ Northern California Chapter, LA Press Club, Golden Mic. Prior to joining KQED, Rachael worked in Los Angeles at KPCC and Marketplace. She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1591205172","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13928131":{"type":"posts","id":"arts_13928131","meta":{"index":"posts_1591205157","site":"arts","id":"13928131","score":null,"sort":[1682438436000]},"guestAuthors":[],"slug":"octavia-butlers-parable-sower-cal-performances-toshi-reagon","title":"Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera","publishDate":1682438436,"format":"standard","headTitle":"Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>All that you touch\u003c/em>\u003c/p>\n\u003cp>\u003cem>You Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>All that you Change\u003c/em>\u003c/p>\n\u003cp>\u003cem>Changes you.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The only lasting truth\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>God\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Earthseed: The Books of the Living\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Saturday, July 20, 2024\u003c/em>\u003c/p>\n\u003cp>One thing that’s changed since Octavia E. Butler first published her 1993 dystopian masterpiece \u003cem>Parable of the Sower\u003c/em> is that her prescience has come more clearly and disturbingly into focus. Hailed as a landmark of Afrofuturism, the novel and its sequel, 1998’s \u003cem>Parable of the Talents\u003c/em>, read increasingly like tomorrow’s headlines.\u003c/p>\n\u003cp>Unfolding in the journal of teenaged Lauren Olamina, a character with all the revelatory power of Huck Finn, the Joads and other American castoffs forced to hit the road for survival, \u003cem>Parable of the Sower \u003c/em>describes California as a chaotic landscape where water is privatized and the weather is more unstable and extreme due to global warming.\u003c/p>\n\u003cp>Law and order has broken down as new illegal drugs drive people to commit wanton acts of destruction. Anyone without protections afforded by wealth is subject to looting and violence at the hands of the dispossessed. Did I mention that the novel opens on July 20, 2024?\u003c/p>\n\u003cp>For vocalist, guitarist and composer Toshi Reagon and her legendary mother, civil rights activist, scholar and Sweet Honey in the Rock founder Bernice Johnson Reagon, that impending date served as a beacon. They’ve been developing the music for decades, and ended up bringing \u003cem>Parable of the Sower\u003c/em> to the stage as a “congregational opera.” Co-directed by Eric Ting and Signe V. Harriday, the latest production makes its Bay Area premiere \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">May 5 and 6 at UC Berkeley’s Zellerbach Hall\u003c/a>, presented by Cal Performances.\u003c/p>\n\u003cp>https://youtu.be/Ds1rNB2jJB8\u003c/p>\n\u003cp>Toshi Reagon, a life-long science fiction fan who read \u003cem>Parable\u003c/em> when it was first published, saw Butler’s story as a creative challenge. “I thought \u003cem>Parable\u003c/em> would be innovative for us to witness,” she says, noting that the unspecified apocalypse that sets the scene for the novel seemed a long way off in 1993. “I thought, ‘That’s terrible, but that can’t happen.’”\u003c/p>\n\u003cp>In recent years, however, events have made her feel “a desperation to get it out. I didn’t want to go into 2024 without something in my hand,” she says, particularly as the news increasingly came to echo Butler’s tale. “There is no way we can all be okay with the way governments are leading the planet. Octavia makes the options so clear. You take these steps or you’re on the highway.”\u003c/p>\n\u003cp>Part of what sets \u003cem>Parable\u003c/em> apart from other classic dystopian tales like George Orwell’s \u003cem>1984\u003c/em>, Aldous Huxley’s \u003cem>Brave New World\u003c/em> and Cormac McCarthy’s \u003cem>The Road\u003c/em> is that Butler offers far more than a vision of Hobbesian humanity at its worst. She also details a path forward, via Lauren’s epigraphic philosophy about change as the universe’s governing force. Teased out and applied to envisioning a new society, her creed resonates deeply with African American music’s deepest roots, spirituals and blues, which defined, healed and sustained embattled communities through extreme depredations.\u003c/p>\n\u003cfigure id=\"attachment_13928145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg\" alt=\"Toshi Reagon plays her acoustic guitar on a dimly lit theater stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toshi Reagon in Octavia E. Butler’s ‘Parable of the Sower,’ which premieres in the Bay Area May 5 and 6 at UC Berkeley’s Zellerbach Hall. \u003ccite>(Reed Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s anything Toshi wants people to understand about \u003cem>Parable\u003c/em> it’s that “it really is an opera,” she says. “It is not a musical. No one is going to stop and talk to you. We sing for a few hours, and we definitely follow the arc of the book. The first half of the story is in a community where the trouble is coming. The second half is in the unknown, trying to get somewhere else and survive. There’s a lot of narrative, so even if you didn’t read the books the story is recognizable.”\u003c/p>\n\u003cp>\u003cem>Parable’s\u003c/em> birth was midwifed by Toni Morrison. In the late 1990s, she invited Bernice Johnson Reagon to teach an Atelier course at Princeton University. Given all her responsibilities \u003cspan style=\"font-weight: 400\">— \u003c/span>Sweet Honey in the Rock was touring internationally \u003cspan style=\"font-weight: 400\">— \u003c/span>Toshi took over from her mom to teach half the semester. After noticing Princeton’s numerous student a cappella ensembles, she realized the time was ripe to start writing music for \u003cem>Parable\u003c/em>. [aside postid='arts_13928016']\u003c/p>\n\u003cp>The Reagons ended up composing dozens of songs, though it wasn’t until about five years later that they started to shape the material into a narrative. A workshop in 2008 set it on course for a premiere at the New York City Opera, but the company ended up folding in 2013 (it returned from bankruptcy three years later). The public first got a glimpse at some of the material in 2014 when Toshi Reagon closed her annual birthday concert at Joe’s Pub with a set of \u003cem>Parable\u003c/em> songs.\u003c/p>\n\u003cp>“She presented three acts of music, and one was of this show no one had heard,” says Eric Ting, who recently stepped down after a brilliant seven-year run as artistic director at Cal Shakes. His wife Meiyin Wang was director of New York’s Under the Radar Festival at the time, and quickly booked the Reagons to present a concert version of \u003cem>Parable\u003c/em> at the Public Theatre in 2015.\u003c/p>\n\u003cp>Ting came on as director, “someone who could shepherd a narrative out of this huge collection of songs,” he says. “We started with four hours of content and that was only a fraction of what they’d written! There’s still music that I’ve never heard, and Toshi has brought plenty of new music to the project.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Part of the challenge was threading the needle in adapting beloved literary works with ardent followings while creating an opera accessible to people who’ve never read Butler. During Ting’s tenure at Cal Shakes, he brought Toshi in to do a developmental workshop, but the production she envisioned was too ambitious for the company to tackle.\u003c/p>\n\u003cp>“It’s a big show, 15 performers, a five-piece rock band, and they all travel from out of town, so there are flights and rooms,” Ting says. “That was one of the challenges.”\u003c/p>\n\u003cp>https://youtu.be/Wie63mAbm8s\u003c/p>\n\u003cp>\u003cem>Parable\u003c/em>’s extended development speaks both to Reagon’s dogged commitment and the opera’s organic evolution. In the past few years, Cal Performances has presented several disappointing \u003ca href=\"https://datebook.sfchronicle.com/theater/review-marquee-name-grand-venue-host-amateur-hour-in-angelique-kidjos-yemandja\">high-profile shows\u003c/a> that were rushed into Zellerbach without the necessary time and resources. Reagon formed her own production company and steadily pushed the boulder up the mountain with her team, honing the work year after year. \u003c/p>\n\u003cp>Reagon often creates ancillary programming around the production, community building that she calls \u003ca href=\"https://www.bowdoin.edu/parable-path-maine/\">the Parable Path\u003c/a>. Whenever possible she sets up a residency at a theater, and often holds song sessions, teaching people \u003cem>Parable\u003c/em> pieces so they can join in the production. There wasn’t time to develop many Parable Path activities for the Cal Performances engagement, but she’s got her eye on coming back to the Bay Area. Ultimately, \u003cem>Parable of the Sower\u003c/em> reflects the novels upon which its based, drawing strength from sacred and vernacular Black culture to offer a path away from societal collapse.\u003c/p>\n\u003cp>“I think the innovation in terms of contemporary performance is that we don’t see the work itself as a whole,” Toshi says. “So much is about urging or challenging our communities to confront the fragility of the world we live in. How we survive is so tied up in how we relate to each other.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>Parable of the Sower \u003cem>makes its Bay Area debut at Zellerbach Hall at UC Berkeley on May 5 and 6. \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Toshi and Bernice Johnson Reagon's adaptation of the sci-fi classic makes its Bay Area debut May 5-6.","status":"publish","parent":0,"modified":1705005590,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1348},"headData":{"title":"Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera | KQED","description":"Toshi and Bernice Johnson Reagon's adaptation of the sci-fi classic makes its Bay Area debut May 5-6.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Octavia Butler’s Prescient ‘Parable of the Sower’ Comes Alive as an Opera","datePublished":"2023-04-25T16:00:36.000Z","dateModified":"2024-01-11T20:39:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>All that you touch\u003c/em>\u003c/p>\n\u003cp>\u003cem>You Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>All that you Change\u003c/em>\u003c/p>\n\u003cp>\u003cem>Changes you.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The only lasting truth\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem>God\u003c/em>\u003c/p>\n\u003cp>\u003cem>Is Change.\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Earthseed: The Books of the Living\u003c/em>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Saturday, July 20, 2024\u003c/em>\u003c/p>\n\u003cp>One thing that’s changed since Octavia E. Butler first published her 1993 dystopian masterpiece \u003cem>Parable of the Sower\u003c/em> is that her prescience has come more clearly and disturbingly into focus. Hailed as a landmark of Afrofuturism, the novel and its sequel, 1998’s \u003cem>Parable of the Talents\u003c/em>, read increasingly like tomorrow’s headlines.\u003c/p>\n\u003cp>Unfolding in the journal of teenaged Lauren Olamina, a character with all the revelatory power of Huck Finn, the Joads and other American castoffs forced to hit the road for survival, \u003cem>Parable of the Sower \u003c/em>describes California as a chaotic landscape where water is privatized and the weather is more unstable and extreme due to global warming.\u003c/p>\n\u003cp>Law and order has broken down as new illegal drugs drive people to commit wanton acts of destruction. Anyone without protections afforded by wealth is subject to looting and violence at the hands of the dispossessed. Did I mention that the novel opens on July 20, 2024?\u003c/p>\n\u003cp>For vocalist, guitarist and composer Toshi Reagon and her legendary mother, civil rights activist, scholar and Sweet Honey in the Rock founder Bernice Johnson Reagon, that impending date served as a beacon. They’ve been developing the music for decades, and ended up bringing \u003cem>Parable of the Sower\u003c/em> to the stage as a “congregational opera.” Co-directed by Eric Ting and Signe V. Harriday, the latest production makes its Bay Area premiere \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">May 5 and 6 at UC Berkeley’s Zellerbach Hall\u003c/a>, presented by Cal Performances.\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/Ds1rNB2jJB8'\n title='//www.youtube.com/embed/Ds1rNB2jJB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Toshi Reagon, a life-long science fiction fan who read \u003cem>Parable\u003c/em> when it was first published, saw Butler’s story as a creative challenge. “I thought \u003cem>Parable\u003c/em> would be innovative for us to witness,” she says, noting that the unspecified apocalypse that sets the scene for the novel seemed a long way off in 1993. “I thought, ‘That’s terrible, but that can’t happen.’”\u003c/p>\n\u003cp>In recent years, however, events have made her feel “a desperation to get it out. I didn’t want to go into 2024 without something in my hand,” she says, particularly as the news increasingly came to echo Butler’s tale. “There is no way we can all be okay with the way governments are leading the planet. Octavia makes the options so clear. You take these steps or you’re on the highway.”\u003c/p>\n\u003cp>Part of what sets \u003cem>Parable\u003c/em> apart from other classic dystopian tales like George Orwell’s \u003cem>1984\u003c/em>, Aldous Huxley’s \u003cem>Brave New World\u003c/em> and Cormac McCarthy’s \u003cem>The Road\u003c/em> is that Butler offers far more than a vision of Hobbesian humanity at its worst. She also details a path forward, via Lauren’s epigraphic philosophy about change as the universe’s governing force. Teased out and applied to envisioning a new society, her creed resonates deeply with African American music’s deepest roots, spirituals and blues, which defined, healed and sustained embattled communities through extreme depredations.\u003c/p>\n\u003cfigure id=\"attachment_13928145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg\" alt=\"Toshi Reagon plays her acoustic guitar on a dimly lit theater stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/cal-performances-toshi-reagon-by-reed-hutchinson.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toshi Reagon in Octavia E. Butler’s ‘Parable of the Sower,’ which premieres in the Bay Area May 5 and 6 at UC Berkeley’s Zellerbach Hall. \u003ccite>(Reed Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s anything Toshi wants people to understand about \u003cem>Parable\u003c/em> it’s that “it really is an opera,” she says. “It is not a musical. No one is going to stop and talk to you. We sing for a few hours, and we definitely follow the arc of the book. The first half of the story is in a community where the trouble is coming. The second half is in the unknown, trying to get somewhere else and survive. There’s a lot of narrative, so even if you didn’t read the books the story is recognizable.”\u003c/p>\n\u003cp>\u003cem>Parable’s\u003c/em> birth was midwifed by Toni Morrison. In the late 1990s, she invited Bernice Johnson Reagon to teach an Atelier course at Princeton University. Given all her responsibilities \u003cspan style=\"font-weight: 400\">— \u003c/span>Sweet Honey in the Rock was touring internationally \u003cspan style=\"font-weight: 400\">— \u003c/span>Toshi took over from her mom to teach half the semester. After noticing Princeton’s numerous student a cappella ensembles, she realized the time was ripe to start writing music for \u003cem>Parable\u003c/em>. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928016","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Reagons ended up composing dozens of songs, though it wasn’t until about five years later that they started to shape the material into a narrative. A workshop in 2008 set it on course for a premiere at the New York City Opera, but the company ended up folding in 2013 (it returned from bankruptcy three years later). The public first got a glimpse at some of the material in 2014 when Toshi Reagon closed her annual birthday concert at Joe’s Pub with a set of \u003cem>Parable\u003c/em> songs.\u003c/p>\n\u003cp>“She presented three acts of music, and one was of this show no one had heard,” says Eric Ting, who recently stepped down after a brilliant seven-year run as artistic director at Cal Shakes. His wife Meiyin Wang was director of New York’s Under the Radar Festival at the time, and quickly booked the Reagons to present a concert version of \u003cem>Parable\u003c/em> at the Public Theatre in 2015.\u003c/p>\n\u003cp>Ting came on as director, “someone who could shepherd a narrative out of this huge collection of songs,” he says. “We started with four hours of content and that was only a fraction of what they’d written! There’s still music that I’ve never heard, and Toshi has brought plenty of new music to the project.”\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>Part of the challenge was threading the needle in adapting beloved literary works with ardent followings while creating an opera accessible to people who’ve never read Butler. During Ting’s tenure at Cal Shakes, he brought Toshi in to do a developmental workshop, but the production she envisioned was too ambitious for the company to tackle.\u003c/p>\n\u003cp>“It’s a big show, 15 performers, a five-piece rock band, and they all travel from out of town, so there are flights and rooms,” Ting says. “That was one of the challenges.”\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/Wie63mAbm8s'\n title='//www.youtube.com/embed/Wie63mAbm8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Parable\u003c/em>’s extended development speaks both to Reagon’s dogged commitment and the opera’s organic evolution. In the past few years, Cal Performances has presented several disappointing \u003ca href=\"https://datebook.sfchronicle.com/theater/review-marquee-name-grand-venue-host-amateur-hour-in-angelique-kidjos-yemandja\">high-profile shows\u003c/a> that were rushed into Zellerbach without the necessary time and resources. Reagon formed her own production company and steadily pushed the boulder up the mountain with her team, honing the work year after year. \u003c/p>\n\u003cp>Reagon often creates ancillary programming around the production, community building that she calls \u003ca href=\"https://www.bowdoin.edu/parable-path-maine/\">the Parable Path\u003c/a>. Whenever possible she sets up a residency at a theater, and often holds song sessions, teaching people \u003cem>Parable\u003c/em> pieces so they can join in the production. There wasn’t time to develop many Parable Path activities for the Cal Performances engagement, but she’s got her eye on coming back to the Bay Area. Ultimately, \u003cem>Parable of the Sower\u003c/em> reflects the novels upon which its based, drawing strength from sacred and vernacular Black culture to offer a path away from societal collapse.\u003c/p>\n\u003cp>“I think the innovation in terms of contemporary performance is that we don’t see the work itself as a whole,” Toshi says. “So much is about urging or challenging our communities to confront the fragility of the world we live in. How we survive is so tied up in how we relate to each other.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>Parable of the Sower \u003cem>makes its Bay Area debut at Zellerbach Hall at UC Berkeley on May 5 and 6. \u003ca href=\"https://calperformances.org/events/2022-23/illuminations-human-and-machine/octavia-e-butlers-parable-of-the-sower/\">Details here\u003c/a>.\u003c/em>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_928","arts_2435","arts_10278","arts_1884","arts_585","arts_2880"],"featImg":"arts_13928143","label":"arts_140"},"arts_13925332":{"type":"posts","id":"arts_13925332","meta":{"index":"posts_1591205157","site":"arts","id":"13925332","score":null,"sort":[1676761047000]},"guestAuthors":[],"slug":"days-after-his-death-a-dance-group-stages-a-long-planned-celebration-of-burt-bacharachs-music","title":"Days After His Death, a Dance Group Stages a Long-Planned Celebration of Burt Bacharach's Music","publishDate":1676761047,"format":"standard","headTitle":"Days After His Death, a Dance Group Stages a Long-Planned Celebration of Burt Bacharach’s Music | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The last time the Mark Morris Dance Group performed at UC Berkeley’s Zellerbach Hall, the group had to cancel two of their three scheduled performances after some group members \u003ca href=\"https://calperformances.org/events/2021-22/dance/mark-morris-dance-group-2122/\">tested positive for COVID-19.\u003c/a>\u003c/p>\n\u003cp>“That was very, very disheartening and very upsetting for everybody,” said Mark Morris, choreographer and artistic director for the group.\u003c/p>\n\u003cp>Though the news was difficult, it was in line with what many were experiencing at the time: plans and preparations torn asunder by the impact of a global pandemic.\u003c/p>\n\u003cp>Now, just over a year later, the group has returned to Zellerbach, but not everything else lost in that time has returned.\u003c/p>\n\u003cp>“It’s also ghost towny here because it’s still coronavirus, everybody,” Morris said. “So people are edgy and it’s uncomfortable. And a lot of things have shut down and it’s very difficult for everyone.”\u003c/p>\n\u003cp>The group is performing a three-night run of \u003cem>The Look of Love: An Evening of Dance to the Music of Burt Bacharach\u003c/em>, which Morris choreographed in tribute to the famed composer.\u003c/p>\n\u003cp>Morris explained that the run would be longer, but the group is still conscious of COVID-19 and it hopes shorter runs can minimize risk.\u003c/p>\n\u003cfigure id=\"attachment_13925337\" class=\"wp-caption alignnone\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/BurtBacharach_Headshot-800x990.jpg\" alt=\"A man sits in front of a piano in a navy suit. He is smiling and facing the camera. \" width=\"400\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1020x1262.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1242x1536.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1655x2048.jpg 1655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1920x2375.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Headshot of Burt Bacharach, courtesy of Mark Morris Dance Group.\u003c/figcaption>\u003c/figure>\n\u003cp>Bacharach is considered by many to be one of the most influential composers of popular music in the 20th century, known widely for composing many iconic songs of the \u003cspan style=\"font-weight: 400\">’\u003c/span>60s and \u003cspan style=\"font-weight: 400\">’\u003c/span>70s, though he was still winning Grammy nominations as recently as last year.\u003c/p>\n\u003cp>Given the impressive career, including three Oscars and six Grammys, it was no surprise that Morris decided to arrange a show in tribute to Bacharach.\u003c/p>\n\u003cp>Bacharach saw a dress rehearsal of the show in October at the Broad Stage at Santa Monica College, where the group held their grand opening.[aside postID=\"arts_13924905\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/BurtBacharach-1020x574.jpg\"]\u003c/p>\n\u003cp>“For many years, I’ve wanted to see my music reimagined in some kind of theatrical production — not just a jukebox musical formula of songs, but an original work with its own story and appeal,” Bacharach is quoted as saying on the \u003ca href=\"https://www.thelookoflove.dance/\">show’s website\u003c/a>. “I’ve found an ideal collaborator in Mark Morris, whose brilliant choreography and deep musicality give songs new meaning and dimension through movement.”\u003c/p>\n\u003cp>Bacharach, with lyricist Hal David, created numerous hits, though many today may more closely associate those songs with the singers that popularized them.\u003c/p>\n\u003cp>“Raindrops Keep Fallin’ on My Head,” performed by BJ Thomas for the 1969 film Butch Cassidy and the Sundance Kid, earned Bacharach, David and Thomas a Grammy.\u003c/p>\n\u003cp>Bacharach is also behind “I Say a Little Prayer,” popularized by icon Aretha Franklin and regarded as one of her best songs.\u003c/p>\n\u003cp>Both of those songs, along with other hits like “Do You Know the Way to San Jose” and “I’ll Never Fall in Love Again,” were first written with and recorded by Dionne Warwick in the latter half of the 1960s. It’s that period that Morris and the dance troupe are focusing on for this show.\u003c/p>\n\u003cp>But as the dance group was preparing for their three-night run in Berkeley, they were once again confronted with a historic moment: the passing of an industry giant. Bacharach died in his Los Angeles home on February 8 at the age of 94.\u003c/p>\n\u003cfigure id=\"attachment_13925342\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-800x534.jpg\" alt=\"Five dancers stand in the same pose. They stand on one leg, their other leg is bent with their foot on their knee and one arm stretched out in front. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mark Morris Dance Group performs \u003cem>The Look of Love\u003c/em> at Santa Monica College. Photo courtesy of Mark Morris Dance Group.\u003c/figcaption>\u003c/figure>\n\u003cp>The performances at Zellerbach Hall mark the first since Bacharach’s passing, and have inevitably taken on new meaning.\u003c/p>\n\u003cp>“Mr. Bacharach’s music has been running through the veins of American culture forever,” Morris said in a statement after learning the news. “His influence permeated popular music as much as his own music incorporated so many forms and styles.”\u003c/p>\n\u003cp>Paul McCartney, former member of the Beatles, tweeted “His songs were an inspiration to people like me. I met him on a couple of occasions and he was a very kind and talented man who will be missed by us all. His songs were distinctive and different from many others in the ’60s and ’70s.”\u003c/p>\n\u003cfigure id=\"attachment_13925338\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925338\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-800x450.jpg\" alt=\"A person leans back in a chair, their arms outstretched to either side. Behind them, two other dancers are caught mid-motion as well, with one balancing on one leg with all other limbs outstretched and the other bending over, reaching one hand down and the other up. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mark Morris Dance Group performs \u003cem>The Look of Love\u003c/em> at Santa Monica College. Photo courtesy of Mark Morris Dance Group.\u003c/figcaption>\u003c/figure>\n\u003cp>Morris said he was glad Bacharach could see the homage to his legacy before his passing, and hopes others turn out to see it as well. But he reminds audiences that the show was created as a tribute to him in life, rather than a memorial made after his passing.\u003c/p>\n\u003cp>“It can be seen as nostalgia, but it’s not my point. It’s for now, it’s for tonight or tomorrow, depending on when you’re coming,” Morris said. “I hope it’s not anything that anyone would expect, but it’s very beautiful and it’s very musically brilliant and Bacharach’s very well represented by this. I can say that.”\u003c/p>\n\u003cp>Opening night at Zellerbach Hall on Friday was reportedly a success, with a full house and a standing ovation, according to the dance group’s executive director Nancy Umanoff.\u003c/p>\n\u003cp>The third and final show in Berkeley will be Sunday, February 19.\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Bacharach is considered by many to be one of the most influential composers of popular music in the 20th century, known widely for composing numerous iconic songs of the ‘60s and ‘70s, though he was still winning Grammy nominations as recently as last year.","status":"publish","parent":0,"modified":1705005826,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":929},"headData":{"title":"Days After His Death, a Dance Group Stages a Long-Planned Celebration of Burt Bacharach's Music | KQED","description":"Bacharach is considered by many to be one of the most influential composers of popular music in the 20th century, known widely for composing numerous iconic songs of the ‘60s and ‘70s, though he was still winning Grammy nominations as recently as last year.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Days After His Death, a Dance Group Stages a Long-Planned Celebration of Burt Bacharach's Music","datePublished":"2023-02-18T22:57:27.000Z","dateModified":"2024-01-11T20:43:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Juan Carlos Lara, E. Okobi","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13925332/days-after-his-death-a-dance-group-stages-a-long-planned-celebration-of-burt-bacharachs-music","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last time the Mark Morris Dance Group performed at UC Berkeley’s Zellerbach Hall, the group had to cancel two of their three scheduled performances after some group members \u003ca href=\"https://calperformances.org/events/2021-22/dance/mark-morris-dance-group-2122/\">tested positive for COVID-19.\u003c/a>\u003c/p>\n\u003cp>“That was very, very disheartening and very upsetting for everybody,” said Mark Morris, choreographer and artistic director for the group.\u003c/p>\n\u003cp>Though the news was difficult, it was in line with what many were experiencing at the time: plans and preparations torn asunder by the impact of a global pandemic.\u003c/p>\n\u003cp>Now, just over a year later, the group has returned to Zellerbach, but not everything else lost in that time has returned.\u003c/p>\n\u003cp>“It’s also ghost towny here because it’s still coronavirus, everybody,” Morris said. “So people are edgy and it’s uncomfortable. And a lot of things have shut down and it’s very difficult for everyone.”\u003c/p>\n\u003cp>The group is performing a three-night run of \u003cem>The Look of Love: An Evening of Dance to the Music of Burt Bacharach\u003c/em>, which Morris choreographed in tribute to the famed composer.\u003c/p>\n\u003cp>Morris explained that the run would be longer, but the group is still conscious of COVID-19 and it hopes shorter runs can minimize risk.\u003c/p>\n\u003cfigure id=\"attachment_13925337\" class=\"wp-caption alignnone\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/BurtBacharach_Headshot-800x990.jpg\" alt=\"A man sits in front of a piano in a navy suit. He is smiling and facing the camera. \" width=\"400\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1020x1262.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1242x1536.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1655x2048.jpg 1655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/BurtBacharach_Headshot-1920x2375.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Headshot of Burt Bacharach, courtesy of Mark Morris Dance Group.\u003c/figcaption>\u003c/figure>\n\u003cp>Bacharach is considered by many to be one of the most influential composers of popular music in the 20th century, known widely for composing many iconic songs of the \u003cspan style=\"font-weight: 400\">’\u003c/span>60s and \u003cspan style=\"font-weight: 400\">’\u003c/span>70s, though he was still winning Grammy nominations as recently as last year.\u003c/p>\n\u003cp>Given the impressive career, including three Oscars and six Grammys, it was no surprise that Morris decided to arrange a show in tribute to Bacharach.\u003c/p>\n\u003cp>Bacharach saw a dress rehearsal of the show in October at the Broad Stage at Santa Monica College, where the group held their grand opening.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924905","hero":"https://ww2.kqed.org/app/uploads/sites/2/2023/02/BurtBacharach-1020x574.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For many years, I’ve wanted to see my music reimagined in some kind of theatrical production — not just a jukebox musical formula of songs, but an original work with its own story and appeal,” Bacharach is quoted as saying on the \u003ca href=\"https://www.thelookoflove.dance/\">show’s website\u003c/a>. “I’ve found an ideal collaborator in Mark Morris, whose brilliant choreography and deep musicality give songs new meaning and dimension through movement.”\u003c/p>\n\u003cp>Bacharach, with lyricist Hal David, created numerous hits, though many today may more closely associate those songs with the singers that popularized them.\u003c/p>\n\u003cp>“Raindrops Keep Fallin’ on My Head,” performed by BJ Thomas for the 1969 film Butch Cassidy and the Sundance Kid, earned Bacharach, David and Thomas a Grammy.\u003c/p>\n\u003cp>Bacharach is also behind “I Say a Little Prayer,” popularized by icon Aretha Franklin and regarded as one of her best songs.\u003c/p>\n\u003cp>Both of those songs, along with other hits like “Do You Know the Way to San Jose” and “I’ll Never Fall in Love Again,” were first written with and recorded by Dionne Warwick in the latter half of the 1960s. It’s that period that Morris and the dance troupe are focusing on for this show.\u003c/p>\n\u003cp>But as the dance group was preparing for their three-night run in Berkeley, they were once again confronted with a historic moment: the passing of an industry giant. Bacharach died in his Los Angeles home on February 8 at the age of 94.\u003c/p>\n\u003cfigure id=\"attachment_13925342\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-800x534.jpg\" alt=\"Five dancers stand in the same pose. They stand on one leg, their other leg is bent with their foot on their knee and one arm stretched out in front. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-008-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mark Morris Dance Group performs \u003cem>The Look of Love\u003c/em> at Santa Monica College. Photo courtesy of Mark Morris Dance Group.\u003c/figcaption>\u003c/figure>\n\u003cp>The performances at Zellerbach Hall mark the first since Bacharach’s passing, and have inevitably taken on new meaning.\u003c/p>\n\u003cp>“Mr. Bacharach’s music has been running through the veins of American culture forever,” Morris said in a statement after learning the news. “His influence permeated popular music as much as his own music incorporated so many forms and styles.”\u003c/p>\n\u003cp>Paul McCartney, former member of the Beatles, tweeted “His songs were an inspiration to people like me. I met him on a couple of occasions and he was a very kind and talented man who will be missed by us all. His songs were distinctive and different from many others in the ’60s and ’70s.”\u003c/p>\n\u003cfigure id=\"attachment_13925338\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925338\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-800x450.jpg\" alt=\"A person leans back in a chair, their arms outstretched to either side. Behind them, two other dancers are caught mid-motion as well, with one balancing on one leg with all other limbs outstretched and the other bending over, reaching one hand down and the other up. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/TheLookOfLove_SantaMonica2022_SkyeSchmidt-010-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mark Morris Dance Group performs \u003cem>The Look of Love\u003c/em> at Santa Monica College. Photo courtesy of Mark Morris Dance Group.\u003c/figcaption>\u003c/figure>\n\u003cp>Morris said he was glad Bacharach could see the homage to his legacy before his passing, and hopes others turn out to see it as well. But he reminds audiences that the show was created as a tribute to him in life, rather than a memorial made after his passing.\u003c/p>\n\u003cp>“It can be seen as nostalgia, but it’s not my point. It’s for now, it’s for tonight or tomorrow, depending on when you’re coming,” Morris said. “I hope it’s not anything that anyone would expect, but it’s very beautiful and it’s very musically brilliant and Bacharach’s very well represented by this. I can say that.”\u003c/p>\n\u003cp>Opening night at Zellerbach Hall on Friday was reportedly a success, with a full house and a standing ovation, according to the dance group’s executive director Nancy Umanoff.\u003c/p>\n\u003cp>The third and final show in Berkeley will be Sunday, February 19.\u003cbr>\n\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>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925332/days-after-his-death-a-dance-group-stages-a-long-planned-celebration-of-burt-bacharachs-music","authors":["byline_arts_13925332"],"categories":["arts_1"],"tags":["arts_2880"],"featImg":"arts_13925335","label":"arts"},"arts_13909444":{"type":"posts","id":"arts_13909444","meta":{"index":"posts_1591205157","site":"arts","id":"13909444","score":null,"sort":[1645042822000]},"guestAuthors":[],"slug":"jason-moran-two-wings-jazz-great-migration","title":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley","publishDate":1645042822,"format":"standard","headTitle":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3Pq_u3F7xdo\u003c/p>\n\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jason and Alicia Hall Moran discuss the upcoming concert with Ambrose Akinsmure, Howard Wiley, the Church of John Coltrane and more. ","status":"publish","parent":0,"modified":1705007184,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":816},"headData":{"title":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley | KQED","description":"Jason and Alicia Hall Moran discuss the upcoming concert with Ambrose Akinsmure, Howard Wiley, the Church of John Coltrane and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An All-Star Jazz Lineup Explores the Great Migration in Berkeley","datePublished":"2022-02-16T20:20:22.000Z","dateModified":"2024-01-11T21:06:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909444/jason-moran-two-wings-jazz-great-migration","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jason Moran is no stranger to incorporating his personal interests into his concerts. In the past decade, the 47-year-old jazz pianist has collaborated with skateboarders on a halfpipe, held open-floor dance parties and dabbled in hip-hop improvisation with rapper Q-Tip.\u003c/p>\n\u003cp>Now, Moran is exploring his personal family history in a concert called \u003cem>Two Wings: The Music of Black America in Migration\u003c/em>, coming to Berkeley’s Zellerbach Hall on Thursday, Feb. 17.\u003c/p>\n\u003cp>The concert is a musical exploration of the Great Migration, the decades-long period in the 20th century when Black families fled the racism and lynching of the Jim Crow South. It’s co-led by Moran’s wife, the acclaimed mezzo-soprano Alicia Hall Moran, and the stacked program, organized specially for the Bay Area, includes trumpeter Ambrose Akinsmure, saxophonist Howard Wiley and the St. John Coltrane African Orthodox Church Ensemble.\u003c/p>\n\u003cp>It’s hard to overestimate the Great Migration’s effect on Black culture, and, by extension, American culture, Moran says.\u003c/p>\n\u003cp>“Six million African Americans departing the South for places North, Northeast, and to the West from 1910 to 1970 reshapes the way the country sounds,” Jason explains, in a joint phone interview with Alicia. “The songs that they make, and the stories they write, and the dances they dance, and the poems they recite, the prayers they lift up, the ceremonies they create.”\u003c/p>\n\u003cfigure id=\"attachment_13909511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/ambrose-about-04.jpg\" alt=\"A man in a suit plays the trumpet, in side view\" width=\"800\" height=\"460\" class=\"size-full wp-image-13909511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/ambrose-about-04-768x442.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based trumpeter Ambrose Akinsmure, whose latest album ‘on the tender spot of every calloused moment’ was nominated for a Grammy Award, is a performer at ‘Two Wings.’ \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs performed in \u003cem>Two Wings\u003c/em> span the Great Migration era, and include the jazz of the Harlem Renaissance, show tunes, gospel hymns, classical music and the Moran’s own compositions.\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>The concert premiered at Carnegie Hall in 2019 and has traveled from city to city, but Alicia feels a special resonance in bringing it to the Bay Area. Alicia’s ancestors moved from Georgia to Philadelphia after emancipation, and her grandparents came to Pasadena after World War II for work. Her mother met her father at Stanford University, and she herself was born in Redwood City. \u003c/p>\n\u003cp>Alicia points out that along with employment opportunities, California offered education for her ancestors, who went “where they had to go to get the level that matched their intellectual and philosophical capacities.”\u003c/p>\n\u003cp>One song from the show, “Believe Me,” addresses the state directly. “You don’t need me to tell you / All the things that one can do / In sunny California,” she sings.\u003c/p>\n\u003cp>Those things include tennis, riding horses, surfing, scuba diving. “But really the subtext of that is also one can be in a non-segregated classroom in California,” Alicia says. “One can work at a tech firm in California. That’s what my parents did, and that’s what the song is about.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3Pq_u3F7xdo'\n title='//www.youtube.com/embed/3Pq_u3F7xdo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Conducted by Tania León and including the chamber ensemble Imani Winds and the New York jazz trio Harriet Tubman, the concert also includes narration by professor Donna Jean Murch, whose book \u003cem>Living for the City\u003c/em> traces the formation of the Black Panther Party in Oakland—and the ways the Great Migration brought its founders together. \u003c/p>\n\u003cp>The Bay Area, as many know, is now experiencing a Great Exodus, as rents skyrocket and new development pushes out the very same Black families that settled here during the Great Migration. The Morans, who’ve seen the same changes in their neighborhood in Harlem, are sympathetic to the challenges. \u003c/p>\n\u003cp>The best practical protection against gentrification for the working middle class is to “buy your house and don’t sell it,” Alicia says. “But you have to stay working and you have to stay middle class, and those things, for all Americans … they’re under attack all the time.”\u003c/p>\n\u003cp>Jason offers a reminder that older people—people in power—are the ones to be held accountable. “I’m loathe to say it, but we often try to lop it onto the youth. But the youth are the last to need the education. It’s the grownups. The grownups have hardened into a thinking that their way is right.”\u003c/p>\n\u003cp>At \u003cem>Two Wings\u003c/em>, Jason says, the hope is to span that divide, as the concert brings different ages and backgrounds under one roof for a musical conversation. \u003c/p>\n\u003cp>“There are multiple languages spoken at many times,” he says, “and we \u003cem>must\u003c/em> get better at how to translate it all.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Two Wings: The Music of Black America in Migration’ is presented on Thursday, Feb. 17, at Zellerbach Hall in Berkeley. \u003ca href=\"https://calperformances.org/events/2021-22/jazz/two-wings-2122/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909444/jason-moran-two-wings-jazz-great-migration","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_2435","arts_15393","arts_13952","arts_2683","arts_1420","arts_585","arts_2880"],"featImg":"arts_13909508","label":"arts_140"},"arts_13874505":{"type":"posts","id":"arts_13874505","meta":{"index":"posts_1591205157","site":"arts","id":"13874505","score":null,"sort":[1581018061000]},"guestAuthors":[],"slug":"stories-and-songs-from-hedwig-by-the-star-of-the-film","title":"Stories and Songs From 'Hedwig' By the Star of the Film","publishDate":1581018061,"format":"standard","headTitle":"Stories and Songs From ‘Hedwig’ By the Star of the Film | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I remember seeing a movie in 2001 and thinking afterward that I’d just watched a \u003cem>Rocky Horror Picture Show\u003c/em> for a new generation. The songs were better, the story more tender, and I knew it would last and last in cult screenings for decades. The film, of course, was \u003cem>Hedwig and the Angry Inch\u003c/em>, which as it turns out, has lasted for nearly 20 years. Since 2001, it’s lived on in midnight screenings, a hit Broadway revival, and in various stagings around the world.\u003c/p>\n\u003cp>But one person has been largely absent from the stage throughout it all: Hedwig co-creator and original star, John Cameron Mitchell. This week, Mitchell comes to the Bay Area for a night called \u003cem>The Origin of Love\u003c/em>, and with his Hedwig co-creator Stephan Trask, he tells stories about the film, sings a handful of its beautiful songs, and brings the spirit of Hedwig to life as only he can. That’s on Saturday, Feb. 29, at Zellerbach Hall in Berkeley.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"John Cameron Mitchell comes to Berkeley in a night of songs and storytelling based on 'Hedwig and the Angry Inch.'","status":"publish","parent":0,"modified":1705021343,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":176},"headData":{"title":"Stories and Songs From 'Hedwig' By the Star of the Film | KQED","description":"John Cameron Mitchell comes to Berkeley in a night of songs and storytelling based on 'Hedwig and the Angry Inch.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Stories and Songs From 'Hedwig' By the Star of the Film","datePublished":"2020-02-06T19:41:01.000Z","dateModified":"2024-01-12T01:02:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1583028000,"endTime":1583046000,"startTimeString":"Feb. 29, 2020","venueName":"Zellerbach Hall","venueAddress":"101 Zellerbach Hall, Berkeley","eventLink":"https://calperformances.org/performances/2019-20/theater/john-cameron-mitchell-the-origin-of-love-tour.php","path":"/arts/13874505/stories-and-songs-from-hedwig-by-the-star-of-the-film","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember seeing a movie in 2001 and thinking afterward that I’d just watched a \u003cem>Rocky Horror Picture Show\u003c/em> for a new generation. The songs were better, the story more tender, and I knew it would last and last in cult screenings for decades. The film, of course, was \u003cem>Hedwig and the Angry Inch\u003c/em>, which as it turns out, has lasted for nearly 20 years. Since 2001, it’s lived on in midnight screenings, a hit Broadway revival, and in various stagings around the world.\u003c/p>\n\u003cp>But one person has been largely absent from the stage throughout it all: Hedwig co-creator and original star, John Cameron Mitchell. This week, Mitchell comes to the Bay Area for a night called \u003cem>The Origin of Love\u003c/em>, and with his Hedwig co-creator Stephan Trask, he tells stories about the film, sings a handful of its beautiful songs, and brings the spirit of Hedwig to life as only he can. That’s on Saturday, Feb. 29, at Zellerbach Hall in Berkeley.—\u003cem>Gabe Meline\u003c/em>\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/13874505/stories-and-songs-from-hedwig-by-the-star-of-the-film","authors":["185"],"programs":["arts_140"],"categories":["arts_74","arts_69","arts_967"],"tags":["arts_1270","arts_5654","arts_2880"],"featImg":"arts_13874400","label":"arts_140"},"arts_13848850":{"type":"posts","id":"arts_13848850","meta":{"index":"posts_1591205157","site":"arts","id":"13848850","score":null,"sort":[1547668992000]},"guestAuthors":[],"slug":"kronos-quartet-performs-new-fifty-for-the-future-works-at-zellerbach-hall","title":"Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall","publishDate":1547668992,"format":"standard","headTitle":"Kronos Quartet Performs New ‘Fifty for the Future’ Works at Zellerbach Hall | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Jan. 25 is the world premiere of new pieces by Misato Mochizuki and Mario Galeano Toro. ","status":"publish","parent":0,"modified":1705026744,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":221},"headData":{"title":"Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall | KQED","description":"Jan. 25 is the world premiere of new pieces by Misato Mochizuki and Mario Galeano Toro. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kronos Quartet Performs New 'Fifty for the Future' Works at Zellerbach Hall","datePublished":"2019-01-16T20:03:12.000Z","dateModified":"2024-01-12T02:32:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13848850/kronos-quartet-performs-new-fifty-for-the-future-works-at-zellerbach-hall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grammy-winning San Francisco string ensemble Kronos Quartet often collaborates with emerging, international composers, and their “\u003ca href=\"https://kronosquartet.org/fifty-for-the-future/composers\" target=\"_blank\" rel=\"noopener\">Fifty for the Future\u003c/a>” project is one example of their efforts to broaden the scope of contemporary classical music.\u003c/p>\n\u003cp>The project, now in its fourth year, commissions 10 new works a year from five men and five women. (2020 will be the final year, resulting in 50 new works.) Beyond performing the new music, Kronos Quartet also publishes the scores online for free along with other resources for students and professional musicians alike. The latest “Fifty for the Future” cycle includes works by electronic producer Jlin, celebrated minimalist composer Terry Riley, Taiwanese pianist Lu Yun and more.\u003c/p>\n\u003cp>At UC Berkeley’s Zellerbach Hall on Jan. 25, Kronos Quartet premieres some of their latest “Fifty for the Future” pieces, including Misato Mochizuki’s \u003cem>Boids\u003c/em>, inspired by science and technology, and Mario Galeano Toro’s \u003cem>Tolo Midi\u003c/em>, which draws from years of musical research in Colombia. Guest artist Soo Yeon Lyuh joins the quartet on the \u003cem>haegeum\u003c/em>, a traditional Korean instrument, for her piece \u003cem>Yessori\u003c/em>. Student ensembles from Berkeley High, Oakland School for the Arts and Crowden School will also perform several Kronos-commissioned pieces.\u003c/p>\n\u003cp>\u003cem>Click \u003ca href=\"https://calperformances.org/performances/2018-19/new-music/kronos-quartet-fifty-for-the-future.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a> for the full program and show details. \u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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/13848850/kronos-quartet-performs-new-fifty-for-the-future-works-at-zellerbach-hall","authors":["11387"],"categories":["arts_69"],"tags":["arts_2435","arts_1312","arts_2244","arts_2880"],"featImg":"arts_13848854","label":"arts"},"arts_13844099":{"type":"posts","id":"arts_13844099","meta":{"index":"posts_1591205157","site":"arts","id":"13844099","score":null,"sort":[1541250043000]},"guestAuthors":[],"slug":"jordi-savall-explores-the-musical-legacy-of-the-routes-of-slavery","title":"Jordi Savall Explores the Musical Legacy of 'The Routes of Slavery'","publishDate":1541250043,"format":"audio","headTitle":"Jordi Savall Explores the Musical Legacy of ‘The Routes of Slavery’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>There aren’t a lot of early music historians who are also celebrities, but the Catalonian composer and musician \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a> is one of them. He shot onto the international scene in 1991 with his heart-stopping viola da gamba performances in the film \u003ci>Tous les Matins du monde\u003c/i>. He has made more than 100 recordings, and his books have been published in eight languages.\u003c/p>\n\u003cp>Over the breadth of his half-century career, Savall has used his celebrity to draw crowds to hear epic musical adventures into history, sharing the stage with family and talents far beyond his home country of Spain.\u003c/p>\n\u003cp>\u003cem>With\u003c/em>\u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall&aview=prog&rid=2725\" target=\"_blank\" rel=\"noopener\">\u003cem> The Routes of Slavery\u003c/em>\u003c/a>, Savall has been touring the world with a couple dozen musicians, singers, and dancers from four continents, pairing them with local narrators and academics to cover the transatlantic slave trade. The troupe performs at \u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and at \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this weekend, before heading to Seattle and then Austin.\u003c/p>\n\u003cp>For the purposes of \u003cem>Routes\u003c/em>, Savall sets his boundaries thusly: 1444, when the Portuguese began trading slaves, and 1888, when Brazil became the last Western country to abolish slavery. During that time, tens of millions of people were forcibly shipped from Africa to the Americas. (Estimates vary, depending on whether you account for those who died en route.)\u003c/p>\n\u003cfigure id=\"attachment_13844117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844117\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg\" alt=\"The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade. \u003ccite>(Photo: Courtesy of Jordi Savall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was the primary economic engine of the world economy for centuries,” says US history professor \u003ca href=\"https://history.stanford.edu/people/james-t-campbell\" target=\"_blank\" rel=\"noopener\">Jim Campbell\u003c/a>, who will be part of the pre-show talk at Bing Concert Hall on Sunday. “It’s hard to imagine any history that we in the West have managed or contrived to forget and evade more thoroughly. Most Americans have no clue of the scope, duration and historical significance of the transatlantic slave trade.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, to emphasize his point, Campbell gets Biblical. “You know, there’s a passage from the story of Jacob where he prophesies the diaspora.”\u003c/p>\n\u003cblockquote>\u003cp>And thy seed shall be as the dust of the earth, and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the families of the earth be blessed. – Genesis 28:14\u003c/p>\u003c/blockquote>\n\u003cp>“That grim but oddly hopeful prophecy is, to me, also the story of the transatlantic slave trade — and we here see it realized musically.”\u003c/p>\n\u003cp>The result is lush, moving and even joyful.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=MBKj_5nUXVw]\u003c/p>\n\u003cp>Campbell’s partner in the talk is \u003ca href=\"https://classics.stanford.edu/people/grant-parker\" target=\"_blank\" rel=\"noopener\">Grant Parker\u003c/a>, an associate professor of classics at Stanford who’s also involved in the university’s \u003ca href=\"https://africanstudies.stanford.edu\" target=\"_blank\" rel=\"noopener\">Center for African Studies\u003c/a>.\u003c/p>\n\u003cp>“It’s clear that Jordi Savall is very conscious of the problems of celebration in the context of such a grim history. Yet he has pulled it off with such a sensitivity, making it very clear that he’s interested in the individuals the lives involved and adding a human dimension to people that are otherwise names or perhaps not even names,” Parker says.\u003c/p>\n\u003cp>In this era when the personal narrative reigns supreme, it’s hard for many audience members to wrap their arms around a multi-century epic with so little written record from the people who were enslaved.\u003c/p>\n\u003cp>Between the music, Savall has narrators read from a variety of sources. There’s a passage from an 1855 Abraham Lincoln wrote to a friend and slave owner in Kentucky. There’s a passage from Martin Luther-King Jr’s 1963 book, \u003cem>Why We Can’t Wait. \u003c/em>Perhaps most horrifying is the first reading from the 1444 book the \u003cem>Chronicle of the Discovery and Conquest of Guinea, \u003c/em>by Gomes Eannes de Azurara.\u003c/p>\n\u003cblockquote>\u003cp>Very early in the morning because of the heat, a few Portuguese seamen unloaded their African cargo consisting of 235 slaves on the south west point of the Algarve in Portugal. This arrival of this collection of Africans was a novelty which attracted the curiosity of a number of people, including Prince Hendry of Portugal.\u003cspan class=\"Apple-converted-space\"> \u003c/span> He watched impassive on horseback and himself received 46 of the slaves present, the royal fifth.\u003c/p>\u003c/blockquote>\n\u003cp>“The fact that they’re human beings is inconsequential,” says Santa Clara University theatre professor and actor \u003ca href=\"https://www.scu.edu/theatre/faculty--staff/aldo-billingslea/\" target=\"_blank\" rel=\"noopener\">Aldo Billingslea\u003c/a>, who’s serving as the narrator for the Saturday performance at Zellerbach. “All of it speaks to me in some way. These beautiful sounds go right through your cartilage, your bone, your flesh and move your soul. It’s a spiritual event.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>What Savall has fixed on is that music is a form of history. Those slaves are speaking to us across the centuries about their experience.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Routes of Slavery\u003c/strong> plays Saturday November 3, 2018 at Zellerbach Hall and Sunday, November 4, 2018 at Bing Concert Hall. For more information, click \u003cstrong>\u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong> and \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Catalan musical historian Jordi Savall is collaborating with artists from around the world on an exploration of the transatlantic slave trade.","status":"publish","parent":0,"modified":1705027057,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":867},"headData":{"title":"Jordi Savall Explores the Musical Legacy of 'The Routes of Slavery' | KQED","description":"The Catalan musical historian Jordi Savall is collaborating with artists from around the world on an exploration of the transatlantic slave trade.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Jordi Savall Explores the Musical Legacy of 'The Routes of Slavery'","datePublished":"2018-11-03T13:00:43.000Z","dateModified":"2024-01-12T02:37:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/11/MyrowMusic.mp3","sticky":false,"path":"/arts/13844099/jordi-savall-explores-the-musical-legacy-of-the-routes-of-slavery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t a lot of early music historians who are also celebrities, but the Catalonian composer and musician \u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall\" target=\"_blank\" rel=\"noopener\">Jordi Savall\u003c/a> is one of them. He shot onto the international scene in 1991 with his heart-stopping viola da gamba performances in the film \u003ci>Tous les Matins du monde\u003c/i>. He has made more than 100 recordings, and his books have been published in eight languages.\u003c/p>\n\u003cp>Over the breadth of his half-century career, Savall has used his celebrity to draw crowds to hear epic musical adventures into history, sharing the stage with family and talents far beyond his home country of Spain.\u003c/p>\n\u003cp>\u003cem>With\u003c/em>\u003ca href=\"http://www.allianceartistmanagement.com/artist.php?id=jsavall&aview=prog&rid=2725\" target=\"_blank\" rel=\"noopener\">\u003cem> The Routes of Slavery\u003c/em>\u003c/a>, Savall has been touring the world with a couple dozen musicians, singers, and dancers from four continents, pairing them with local narrators and academics to cover the transatlantic slave trade. The troupe performs at \u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">UC Berkeley\u003c/a> and at \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">Stanford\u003c/a> this weekend, before heading to Seattle and then Austin.\u003c/p>\n\u003cp>For the purposes of \u003cem>Routes\u003c/em>, Savall sets his boundaries thusly: 1444, when the Portuguese began trading slaves, and 1888, when Brazil became the last Western country to abolish slavery. During that time, tens of millions of people were forcibly shipped from Africa to the Americas. (Estimates vary, depending on whether you account for those who died en route.)\u003c/p>\n\u003cfigure id=\"attachment_13844117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844117\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg\" alt=\"The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33608_Press_Photo-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Catalan musical historian Jordi Savall collaborates with artists from around the world on a musical exploration of the transatlantic slave trade. \u003ccite>(Photo: Courtesy of Jordi Savall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was the primary economic engine of the world economy for centuries,” says US history professor \u003ca href=\"https://history.stanford.edu/people/james-t-campbell\" target=\"_blank\" rel=\"noopener\">Jim Campbell\u003c/a>, who will be part of the pre-show talk at Bing Concert Hall on Sunday. “It’s hard to imagine any history that we in the West have managed or contrived to forget and evade more thoroughly. Most Americans have no clue of the scope, duration and historical significance of the transatlantic slave trade.”\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>Then, to emphasize his point, Campbell gets Biblical. “You know, there’s a passage from the story of Jacob where he prophesies the diaspora.”\u003c/p>\n\u003cblockquote>\u003cp>And thy seed shall be as the dust of the earth, and thou shalt spread abroad to the west, and to the east, and to the north, and to the south: and in thee and in thy seed shall all the families of the earth be blessed. – Genesis 28:14\u003c/p>\u003c/blockquote>\n\u003cp>“That grim but oddly hopeful prophecy is, to me, also the story of the transatlantic slave trade — and we here see it realized musically.”\u003c/p>\n\u003cp>The result is lush, moving and even joyful.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MBKj_5nUXVw'\n title='//www.youtube.com/embed/MBKj_5nUXVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Campbell’s partner in the talk is \u003ca href=\"https://classics.stanford.edu/people/grant-parker\" target=\"_blank\" rel=\"noopener\">Grant Parker\u003c/a>, an associate professor of classics at Stanford who’s also involved in the university’s \u003ca href=\"https://africanstudies.stanford.edu\" target=\"_blank\" rel=\"noopener\">Center for African Studies\u003c/a>.\u003c/p>\n\u003cp>“It’s clear that Jordi Savall is very conscious of the problems of celebration in the context of such a grim history. Yet he has pulled it off with such a sensitivity, making it very clear that he’s interested in the individuals the lives involved and adding a human dimension to people that are otherwise names or perhaps not even names,” Parker says.\u003c/p>\n\u003cp>In this era when the personal narrative reigns supreme, it’s hard for many audience members to wrap their arms around a multi-century epic with so little written record from the people who were enslaved.\u003c/p>\n\u003cp>Between the music, Savall has narrators read from a variety of sources. There’s a passage from an 1855 Abraham Lincoln wrote to a friend and slave owner in Kentucky. There’s a passage from Martin Luther-King Jr’s 1963 book, \u003cem>Why We Can’t Wait. \u003c/em>Perhaps most horrifying is the first reading from the 1444 book the \u003cem>Chronicle of the Discovery and Conquest of Guinea, \u003c/em>by Gomes Eannes de Azurara.\u003c/p>\n\u003cblockquote>\u003cp>Very early in the morning because of the heat, a few Portuguese seamen unloaded their African cargo consisting of 235 slaves on the south west point of the Algarve in Portugal. This arrival of this collection of Africans was a novelty which attracted the curiosity of a number of people, including Prince Hendry of Portugal.\u003cspan class=\"Apple-converted-space\"> \u003c/span> He watched impassive on horseback and himself received 46 of the slaves present, the royal fifth.\u003c/p>\u003c/blockquote>\n\u003cp>“The fact that they’re human beings is inconsequential,” says Santa Clara University theatre professor and actor \u003ca href=\"https://www.scu.edu/theatre/faculty--staff/aldo-billingslea/\" target=\"_blank\" rel=\"noopener\">Aldo Billingslea\u003c/a>, who’s serving as the narrator for the Saturday performance at Zellerbach. “All of it speaks to me in some way. These beautiful sounds go right through your cartilage, your bone, your flesh and move your soul. It’s a spiritual event.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>What Savall has fixed on is that music is a form of history. Those slaves are speaking to us across the centuries about their experience.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Routes of Slavery\u003c/strong> plays Saturday November 3, 2018 at Zellerbach Hall and Sunday, November 4, 2018 at Bing Concert Hall. For more information, click \u003cstrong>\u003ca href=\"http://calperformances.org/performances/2018-19/early-music/jordi-savall-the-routes-of-slavery-1444-1888.php?fbclid=IwAR2VfpyTkokbiTJmma-noG9X-Jsu-w4BUTchzV3csFZy5_wuLnv-l2wbzCU\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong> and \u003ca href=\"https://live.stanford.edu/calendar/november-2018/routes-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13844099/jordi-savall-explores-the-musical-legacy-of-the-routes-of-slavery","authors":["251"],"categories":["arts_69","arts_235","arts_967"],"tags":["arts_2308","arts_1119","arts_596","arts_4642","arts_5165","arts_5164","arts_2880"],"featImg":"arts_13844118","label":"arts"},"arts_13812661":{"type":"posts","id":"arts_13812661","meta":{"index":"posts_1591205157","site":"arts","id":"13812661","score":null,"sort":[1508982147000]},"guestAuthors":[],"slug":"a-conductor-plays-politics-and-leads-a-great-orchestra","title":"A Conductor Plays Politics and Leads a Great Orchestra","publishDate":1508982147,"format":"standard","headTitle":"A Conductor Plays Politics and Leads a Great Orchestra | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Conductor Valery Gergiev leads the Mariinsky, his home orchestra, on a barnstorming tour of the Bay Area this month, playing Shostakovich and Prokofiev and other classics. It’s a big deal. Gergiev conducted Prokofiev’s opera \u003cem>War and Peace,\u003c/em> based on the Leo Tolstoy book, at San Francisco Opera in 1991, and the music remains vivid for me as one of the greatest performances I’ve ever seen.\u003c/p>\n\u003cp>The Mariinksy is one of the world’s outstanding orchestras. But in the past few years, I’ve wondered about Gergiev’s politics as he’s expressed vocal support for Vladimir Putin, despite the leader’s harsh crackdowns on dissent and LGBTQ rights. My co-host Tomas Riley notes he’s never believed in the notion that politics stops at the art house door, “but as with any good Russian novel,” Riley said, “the levels of intrigue get deep and expansive, and you don’t have to like every character.” \u003ca href=\"http://mariinsky.us/performances/mariinsky-orchestra-performance-schedule/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pFih0b-VJec\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A brilliant conductor and his orchestra barnstorms the Bay Area, hoping we don't fuss about his politics.","status":"publish","parent":0,"modified":1705029245,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":185},"headData":{"title":"A Conductor Plays Politics and Leads a Great Orchestra | KQED","description":"A brilliant conductor and his orchestra barnstorms the Bay Area, hoping we don't fuss about his politics.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Conductor Plays Politics and Leads a Great Orchestra","datePublished":"2017-10-26T01:42:27.000Z","dateModified":"2024-01-12T03:14:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13812661/a-conductor-plays-politics-and-leads-a-great-orchestra","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conductor Valery Gergiev leads the Mariinsky, his home orchestra, on a barnstorming tour of the Bay Area this month, playing Shostakovich and Prokofiev and other classics. It’s a big deal. Gergiev conducted Prokofiev’s opera \u003cem>War and Peace,\u003c/em> based on the Leo Tolstoy book, at San Francisco Opera in 1991, and the music remains vivid for me as one of the greatest performances I’ve ever seen.\u003c/p>\n\u003cp>The Mariinksy is one of the world’s outstanding orchestras. But in the past few years, I’ve wondered about Gergiev’s politics as he’s expressed vocal support for Vladimir Putin, despite the leader’s harsh crackdowns on dissent and LGBTQ rights. My co-host Tomas Riley notes he’s never believed in the notion that politics stops at the art house door, “but as with any good Russian novel,” Riley said, “the levels of intrigue get deep and expansive, and you don’t have to like every character.” \u003ca href=\"http://mariinsky.us/performances/mariinsky-orchestra-performance-schedule/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pFih0b-VJec'\n title='//www.youtube.com/embed/pFih0b-VJec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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/13812661/a-conductor-plays-politics-and-leads-a-great-orchestra","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_69"],"tags":["arts_2435","arts_2520","arts_1006","arts_2267","arts_596","arts_2265","arts_626","arts_2880"],"featImg":"arts_13812662","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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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. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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