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"content": "\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the last decade, ghosts have become an increasingly present part of live music, with holographic recreations of Tupac, Michael Jackson and opera great Maria Callas all appearing in concert. \u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">Whitney Housto\u003c/a>n’s estate is taking the trend to the next level; starting Feb. 25, the late pop superstar will embark on a hologram tour of Europe.\u003c/p>\n\u003cp>“This is happening at a time when great, classic performers are no longer with us, like Michael Jackson, or David Bowie, or Prince, or Aretha Franklin,” Jason King, who hosted the NPR R&B channel \u003cem>I’ll Take You There\u003c/em>, says. “Awards show viewership is lower than it’s ever been. So this is an opportunity for masses of people to reconnect with great performers of the past, whether you’re talking about Maria Callas, or Whitney Houston or others.”\u003c/p>\n\u003cp>Houston’s posthumous program is called \u003cem>An Evening with Whitney\u003c/em> and produced by the same company that put on the Callas hologram show; it features a digital recreation of Houston, supported by a live band, singing her greatest hits and bantering with the audience.\u003c/p>\n\u003cp>There are a wide range of ethical dilemmas raised by both the concept of posthumous hologram tours and specifically by a Whitney Houston tour.\u003c/p>\n\u003cp>“This is an artist who spent some time in her career in the throes of substance abuse, did not always seem in control of her image, or her sound, or her finances,” King says. “And so now there is this potential that she’s being exploited all over again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Lulu Garcia-Navarro spoke to Jason King about how these holograms—a high-tech version of a 19th century projection trick—work and why there’s been a sudden emergence of this style of show. Listen to their full conversation in the player above.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27An+Evening+With+Whitney%27+Hologram+Tour+Trades+On+The+Image+Of+A+Complicated+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last decade, ghosts have become an increasingly present part of live music, with holographic recreations of Tupac, Michael Jackson and opera great Maria Callas all appearing in concert. \u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">Whitney Housto\u003c/a>n’s estate is taking the trend to the next level; starting Feb. 25, the late pop superstar will embark on a hologram tour of Europe.\u003c/p>\n\u003cp>“This is happening at a time when great, classic performers are no longer with us, like Michael Jackson, or David Bowie, or Prince, or Aretha Franklin,” Jason King, who hosted the NPR R&B channel \u003cem>I’ll Take You There\u003c/em>, says. “Awards show viewership is lower than it’s ever been. So this is an opportunity for masses of people to reconnect with great performers of the past, whether you’re talking about Maria Callas, or Whitney Houston or others.”\u003c/p>\n\u003cp>Houston’s posthumous program is called \u003cem>An Evening with Whitney\u003c/em> and produced by the same company that put on the Callas hologram show; it features a digital recreation of Houston, supported by a live band, singing her greatest hits and bantering with the audience.\u003c/p>\n\u003cp>There are a wide range of ethical dilemmas raised by both the concept of posthumous hologram tours and specifically by a Whitney Houston tour.\u003c/p>\n\u003cp>“This is an artist who spent some time in her career in the throes of substance abuse, did not always seem in control of her image, or her sound, or her finances,” King says. “And so now there is this potential that she’s being exploited all over again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR’s Lulu Garcia-Navarro spoke to Jason King about how these holograms—a high-tech version of a 19th century projection trick—work and why there’s been a sudden emergence of this style of show. Listen to their full conversation in the player above.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27An+Evening+With+Whitney%27+Hologram+Tour+Trades+On+The+Image+Of+A+Complicated+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Slow Century,' Showing at Noise Pop, Chronicles Pavement's Turbulent Career",
"headTitle": "‘Slow Century,’ Showing at Noise Pop, Chronicles Pavement’s Turbulent Career | KQED",
"content": "\u003cp class=\"p1\">\u003cspan class=\"s1\">In perfect Pavement fashion, a documentary on the beloved indie rockers is about to get its big-screen debut nearly two decades after its release.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I don’t think I’ve ever seen it projected,” says Lance Bangs, who shot and assembled much of the footage that comprises \u003ca href=\"http://events.noisepop.com/events/2020/2/26/pavement-slow-century-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pavement: Slow Century\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Originally included as part of a two-disc DVD retrospective on the band in 2002, \u003cem>Slow Century\u003c/em> is a 90-minute summation of a group once regarded by \u003ci>Village Voice\u003c/i> critic Robert Christgau as “the finest rock band of the ’90s.” Led by guitarist-singer-songwriter Stephen Malkmus, Pavement also included fellow Stockton native Scott Kannberg, bassist Mark Ibold, drummer Steve West, and percussionist/vocalist Bob Nastanovich.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Toying with various facets of rock, Pavement briefly brushed major fame following the release of the 1994 single “Cut Your Hair,” but notably never signed with a major label during their decade-long original run. Instead, the band’s legacy was fermented in live performances built around chaos, indifference and something intangibly brilliant.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/QTTgpTeb0Z8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Describing what made Pavement such a pleasure to film, Bangs—an accomplished filmmaker and music video director—explains that part of the allure stemmed from the group’s desire to figure things out on the fly.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“When they were touring during the \u003cem>Crooked Rain\u003c/em> and \u003cem>Wowee Zowee\u003c/em> era, they would play songs that had not been released,” Bangs recalls. “They would play songs that were going to come out two records later. They would do different arrangements. They weren’t necessarily going out and playing the same setlist every night.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Speaking ahead of a special \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a> screening of the film at the Roxie on Wednesday, Feb. 26 at 8pm, Bangs and Nastanovich both agree that one of the documentary’s greatest strengths is the genuine way it charts the progress of a band that was, in many ways, battling against themselves most of all.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nastanovich is the first to admit it.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ve always had this thing where it felt like our audience was rooting for us to just pull off our own songs. When you go see a band, usually it’s like, ‘Whoa, they sound great tonight’ or, ‘That was an amazing version of that.’ For us, it was almost like the crowd was just hopeful that it wouldn’t all fall apart.” [aside postid='arts_13875176']\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">One of the more intriguing sections featured in \u003cem>Slow Century\u003c/em> concerns the tenure of the band’s original drummer, Gary Young. A Bay Area musician and owner of the studio in New York where the band’s first album was recorded, Young was also notable for being 15 years older than anyone else in the group, as well as for often performing shirtless, and for leaving his kit to perform handstands basically whenever he felt like it.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For Bangs, Young was part of the initial attraction that drew his camera to Pavement.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I was always excited to film the band because their live presentation was inscrutable,” Bangs says. “It was baffling to try and figure out why what looked like a band of post-college guys of a certain age had this drummer, Gary Young. He was much more idiosyncratic and charismatic with what he was doing, in terms of his performance energy, compared with the more self-effacing, low-key approach of the other guys on stage. That was just such a visual mystery to try and figure out.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">As \u003cem>Slow Century\u003c/em> chronicles, Young quit the band in 1993 in part due to issues with alcohol. Ultimately, Young would be invited to perform with Pavement when the group played shows in Stockton and Berkeley as part of their 2010 reunion tour. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Though the performances were well received, Nastanovich says the band’s reunion-within-a-reunion wasn’t a perfect fit.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I’m not against ever doing it again if the situation were to arise,” Nastanovich says. “But in order to have a band with Gary Young, Gary Young has to be the focal point—at least in his own mind. He can’t just be some special guest, you know? That was sort of the downfall of his 2010. We wanted him to do more stuff but it just didn’t work.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">While Young’s time with Pavement was undoubtedly contentious, the band’s relationship to \u003ca href=\"https://www.npr.org/2019/08/10/749791856/silver-jews-david-berman-remembered-by-his-peers-in-his-own-words\" target=\"_blank\" rel=\"noopener noreferrer\">David Berman\u003c/a> (Silver Jews, Purple Mountains), who tragically took his own life at the age of 51 last August, was something far more complex. Though Berman \u003ca href=\"https://twitter.com/BNastanovich/status/1232128642710417408\" target=\"_blank\" rel=\"noopener noreferrer\">appears only briefly\u003c/a> in the film, his influence is felt right away thanks to the fact that his words inspired the project’s title.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“He was always whispering in our ears,” Nastanovich says. “Believe me, if we were doing something that he found embarrassing, he would tell us. Unfortunately, now that he’s gone, we’re on our own.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nastanovich also expresses gratitude to Bangs, as well as the films other co-directors (there are six in total, including Sonic Youth’s Kim Gordon and Thurston Moore), for presenting the story in a way that felt, above all, honest.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/Ch6BMsGwkpY\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">It’s a sentiment reflected in Bangs’ decision to end the film with footage of Pavement performing the last three songs of their encore at London’s Brixton Academy in 1999 in its entirety. Prior to the band’s highly publicized reunion in 2010, the London concert had long served as the band’s final performance. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In response to fans who may take issue with the fact that \u003cem>Slow Century\u003c/em> largely eschews the widely reported, acrimonious dissolution of the band, Nastanovich counters that any efforts to that effect would likely have failed spectacularly. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It wouldn’t have worked to ask us then about why Pavement was coming to an end in interviews,” he says. “I think the sense of finality at the end was a good way to present this ‘See ya later, that was Pavement’ type feel because the band was over. I certainly knew it was over.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In an intriguing twist of irony, this big-screen debut of a documentary ostensibly made about a band that ended 20 years ago will coincide with two Pavement concerts scheduled in Spain later this spring. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Asked if he’s excited to be reuniting with Malkmus and the rest of the band once more, Nastanovich says he’s currently focused on getting the Pavement frontman to send everyone a list of songs so they can start practicing.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I’m trying to convince Stephen to make a setlist with the songs we need to learn,” he explains. “Instead of everyone having to learn 100 Pavement songs, I’m trying to get that down to like 40 so they don’t waste their time. That said, any opportunity to play Pavement shows for me is just like… basically, if we’re playing downtown Des Moines in an hour and a half, I’m ready.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Pavement: Slow Century\u003c/span>\u003cem>\u003cspan class=\"s1\"> screens on Wednesday, Feb. 26, at 6:45 p.m, followed by a Q&A with Lance Bangs and Bob Nastanovich at The Roxie in San Francisco. \u003ca href=\"http://events.noisepop.com/events/2020/2/26/pavement-slow-century-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Correction: \u003c/strong>An earlier version of this story stated that David Berman doesn’t appear in \u003cem>Slow Century \u003c/em>when, in fact, he makes a brief appearance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">In perfect Pavement fashion, a documentary on the beloved indie rockers is about to get its big-screen debut nearly two decades after its release.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I don’t think I’ve ever seen it projected,” says Lance Bangs, who shot and assembled much of the footage that comprises \u003ca href=\"http://events.noisepop.com/events/2020/2/26/pavement-slow-century-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pavement: Slow Century\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Originally included as part of a two-disc DVD retrospective on the band in 2002, \u003cem>Slow Century\u003c/em> is a 90-minute summation of a group once regarded by \u003ci>Village Voice\u003c/i> critic Robert Christgau as “the finest rock band of the ’90s.” Led by guitarist-singer-songwriter Stephen Malkmus, Pavement also included fellow Stockton native Scott Kannberg, bassist Mark Ibold, drummer Steve West, and percussionist/vocalist Bob Nastanovich.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Toying with various facets of rock, Pavement briefly brushed major fame following the release of the 1994 single “Cut Your Hair,” but notably never signed with a major label during their decade-long original run. Instead, the band’s legacy was fermented in live performances built around chaos, indifference and something intangibly brilliant.\u003c/span>\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/QTTgpTeb0Z8'\n title='//www.youtube.com/embed/QTTgpTeb0Z8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Describing what made Pavement such a pleasure to film, Bangs—an accomplished filmmaker and music video director—explains that part of the allure stemmed from the group’s desire to figure things out on the fly.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“When they were touring during the \u003cem>Crooked Rain\u003c/em> and \u003cem>Wowee Zowee\u003c/em> era, they would play songs that had not been released,” Bangs recalls. “They would play songs that were going to come out two records later. They would do different arrangements. They weren’t necessarily going out and playing the same setlist every night.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Speaking ahead of a special \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a> screening of the film at the Roxie on Wednesday, Feb. 26 at 8pm, Bangs and Nastanovich both agree that one of the documentary’s greatest strengths is the genuine way it charts the progress of a band that was, in many ways, battling against themselves most of all.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nastanovich is the first to admit it.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’ve always had this thing where it felt like our audience was rooting for us to just pull off our own songs. When you go see a band, usually it’s like, ‘Whoa, they sound great tonight’ or, ‘That was an amazing version of that.’ For us, it was almost like the crowd was just hopeful that it wouldn’t all fall apart.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">One of the more intriguing sections featured in \u003cem>Slow Century\u003c/em> concerns the tenure of the band’s original drummer, Gary Young. A Bay Area musician and owner of the studio in New York where the band’s first album was recorded, Young was also notable for being 15 years older than anyone else in the group, as well as for often performing shirtless, and for leaving his kit to perform handstands basically whenever he felt like it.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For Bangs, Young was part of the initial attraction that drew his camera to Pavement.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I was always excited to film the band because their live presentation was inscrutable,” Bangs says. “It was baffling to try and figure out why what looked like a band of post-college guys of a certain age had this drummer, Gary Young. He was much more idiosyncratic and charismatic with what he was doing, in terms of his performance energy, compared with the more self-effacing, low-key approach of the other guys on stage. That was just such a visual mystery to try and figure out.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">As \u003cem>Slow Century\u003c/em> chronicles, Young quit the band in 1993 in part due to issues with alcohol. Ultimately, Young would be invited to perform with Pavement when the group played shows in Stockton and Berkeley as part of their 2010 reunion tour. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Though the performances were well received, Nastanovich says the band’s reunion-within-a-reunion wasn’t a perfect fit.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I’m not against ever doing it again if the situation were to arise,” Nastanovich says. “But in order to have a band with Gary Young, Gary Young has to be the focal point—at least in his own mind. He can’t just be some special guest, you know? That was sort of the downfall of his 2010. We wanted him to do more stuff but it just didn’t work.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">While Young’s time with Pavement was undoubtedly contentious, the band’s relationship to \u003ca href=\"https://www.npr.org/2019/08/10/749791856/silver-jews-david-berman-remembered-by-his-peers-in-his-own-words\" target=\"_blank\" rel=\"noopener noreferrer\">David Berman\u003c/a> (Silver Jews, Purple Mountains), who tragically took his own life at the age of 51 last August, was something far more complex. Though Berman \u003ca href=\"https://twitter.com/BNastanovich/status/1232128642710417408\" target=\"_blank\" rel=\"noopener noreferrer\">appears only briefly\u003c/a> in the film, his influence is felt right away thanks to the fact that his words inspired the project’s title.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“He was always whispering in our ears,” Nastanovich says. “Believe me, if we were doing something that he found embarrassing, he would tell us. Unfortunately, now that he’s gone, we’re on our own.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Nastanovich also expresses gratitude to Bangs, as well as the films other co-directors (there are six in total, including Sonic Youth’s Kim Gordon and Thurston Moore), for presenting the story in a way that felt, above all, honest.\u003c/span>\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/Ch6BMsGwkpY'\n title='//www.youtube.com/embed/Ch6BMsGwkpY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">It’s a sentiment reflected in Bangs’ decision to end the film with footage of Pavement performing the last three songs of their encore at London’s Brixton Academy in 1999 in its entirety. Prior to the band’s highly publicized reunion in 2010, the London concert had long served as the band’s final performance. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In response to fans who may take issue with the fact that \u003cem>Slow Century\u003c/em> largely eschews the widely reported, acrimonious dissolution of the band, Nastanovich counters that any efforts to that effect would likely have failed spectacularly. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It wouldn’t have worked to ask us then about why Pavement was coming to an end in interviews,” he says. “I think the sense of finality at the end was a good way to present this ‘See ya later, that was Pavement’ type feel because the band was over. I certainly knew it was over.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In an intriguing twist of irony, this big-screen debut of a documentary ostensibly made about a band that ended 20 years ago will coincide with two Pavement concerts scheduled in Spain later this spring. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Asked if he’s excited to be reuniting with Malkmus and the rest of the band once more, Nastanovich says he’s currently focused on getting the Pavement frontman to send everyone a list of songs so they can start practicing.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“I’m trying to convince Stephen to make a setlist with the songs we need to learn,” he explains. “Instead of everyone having to learn 100 Pavement songs, I’m trying to get that down to like 40 so they don’t waste their time. That said, any opportunity to play Pavement shows for me is just like… basically, if we’re playing downtown Des Moines in an hour and a half, I’m ready.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Pavement: Slow Century\u003c/span>\u003cem>\u003cspan class=\"s1\"> screens on Wednesday, Feb. 26, at 6:45 p.m, followed by a Q&A with Lance Bangs and Bob Nastanovich at The Roxie in San Francisco. \u003ca href=\"http://events.noisepop.com/events/2020/2/26/pavement-slow-century-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been nearly 20 years since I watched Michael Tilson Thomas conduct Mahler’s Symphony No. 6, but it’s an experience I’ll never forget. In particular, the piece contained a finale inspired by death and loss, with a giant hammer smashed upon a giant drum. The whole thing was thundering, and turbulent, and incredibly moving, and I walked out of Davies Symphony Hall that night in a daze at the power of great art. The date was Sept. 12, 2001—one day after 9/11. \u003c/p>\n\u003cp>For obvious reasons, this performance has gone down in history, and represents a landmark in Michael Tilson Thomas’ time at the San Francisco Symphony. That leadership, of 25 years, \u003ca href=\"https://www.kqed.org/arts/13813262/michael-tilson-thomas-to-step-down-from-san-francisco-symphony\" rel=\"noopener noreferrer\" target=\"_blank\">comes to an end\u003c/a> this season. Before he goes, he’s bringing back Mahler’s Sixth, nicknamed the “Tragic” symphony, for a performance in San Francisco. It’s the work that kicked off a series of award-winning recordings of Mahler for the Symphony’s own record label, and it now helps bookend Tilson Thomas’ run as music director. Witness the powerful piece on Friday, March 6, at Davies Symphony Hall in San Francisco.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The Band generated mythic status from the start. Crashing on the scene as Bob Dylan’s anonymous-but-not-for-long backup band on his controversial and thrilling electrified tours of 1965-66, the group emerged fully formed, capable of both intense and experimentalist noise and tight, basic rock and roll. \u003c/p>\n\u003cp>The Band’s first album, \u003cem>Music From Big Pink\u003c/em> (1968), was embraced by musicians and critics and seen as the harbinger of a new kind of post-psychedelic roots music. That album and their second, \u003cem>The Band\u003c/em> (1969), were not big sellers, but gained huge respect from critics and musicians as the group built up a passionate fan following. In 1975, critic Greil Marcus described them in \u003cem>Mystery Train: Images of America in Rock and Roll \u003c/em>as “committed to the very idea of America: complicated, dangerous, and alive. Their music gave us a sure sense that the country was richer than we had guessed; that it has possibilities we were only beginning to perceive.” \u003c/p>\n\u003cp>[aside postID='arts_13841271' label='More Dylan']\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Five Concerts Not to Miss at Noise Pop 2020",
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"content": "\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts not to miss.\u003c/p>\n\u003cp>https://youtu.be/Zgjrt12QTVQ\u003c/p>\n\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/RVfIJ2jZFcM\u003c/p>\n\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\u003c/p>\n\u003cp>https://youtu.be/OcK5JLyPLM0\u003c/p>\n\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\u003c/p>\n\u003cp>https://youtu.be/6XDJ7exN12U\u003c/p>\n\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts not to miss.\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/Zgjrt12QTVQ'\n title='//www.youtube.com/embed/Zgjrt12QTVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RVfIJ2jZFcM'\n title='//www.youtube.com/embed/RVfIJ2jZFcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\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/OcK5JLyPLM0'\n title='//www.youtube.com/embed/OcK5JLyPLM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\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/6XDJ7exN12U'\n title='//www.youtube.com/embed/6XDJ7exN12U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\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/Kl7VlI3eUs4'\n title='//www.youtube.com/embed/Kl7VlI3eUs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pop Smoke, Rising New York Rapper, Dead At 20",
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"content": "\u003cp>Bashar Jackson, better known as the rapper Pop Smoke, has died. He was 20 years old. The news was confirmed to NPR in a statement from Republic Records, a label Jackson had worked with.\u003c/p>\n\u003cp>Jackson’s cause of death was not confirmed, though in \u003ca href=\"https://www.youtube.com/watch?v=6pzGhUe3UVA\">a press conference today\u003c/a>, LAPD Captain Steve Lurie said that “at 4:55 this morning,” LAPD officers received a phone call “from back east” that a house in the Hollywood Hills had been broken into, and that when officers arrived on the scene they discovered a shooting victim. The victim was then transported to Cedars-Sinai Hospital, where they were pronounced dead.\u003c/p>\n\u003cp>“We are devastated by the unexpected and tragic loss of Pop Smoke,” Republic Records’ statement reads. “Our prayers and thoughts go out to his family, friends and fans, as we mourn this loss together.”\u003c/p>\n\u003cp>Jackson was raised in Canarsie, Brooklyn, growing up in a neighborhood and moment defined by cultural exchange. He was raised in a Panamanian household, he lived around West Indians, he played African drums in church and his first love as a recording artist was a beat from a U.K. producer who goes by 808Melo. That beat turned into Jackson’s first song, “MPR,” which he released in December 2018. Even in that early work, you could hear what millions more would gravitate towards over the next year: Jackson had a \u003cem>voice\u003c/em> — billowing and ghoulish, scorched and scarily effortless. And his ear for beats was unlike any other in the nascent New York drill scene, a regional bubble of rappers taking on propulsive drum patterns with gritty street talk. Jackson dared to rap with a thick Brooklyn accent over grime-inflected beats with bass lines that sounded like transmissions from another planet.\u003c/p>\n\u003cp>The lodestar for a New York drill hit may forever be Jackson’s “Welcome To The Party.” — the city typically has its own song of the summer every year, and “Welcome To The Party” was the runaway favorite in 2019. A bludgeoning ode to excess, the single — which received remixes from Nicki Minaj, ASAP Ferg, Meek Mill and more — catapulted Jackson into the upper echelon of the city’s rap talent. A deal with Republic Records followed soon after, as did his debut mixtape, \u003cem>Meet The Woo\u003c/em>, and his second national hit, “Dior.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Jackson’s rapid success came increased attention from the NYPD. The rapper had a history of crime, but he and others from the New York drill scene were \u003ca href=\"https://www.google.com/url?q=https://www.rollingstone.com/music/music-news/rolling-loud-nypd-pulled-5-rappers-from-festival-repercussions-901144/&sa=D&ust=1582156803692000&usg=AFQjCNGR43jldNf5YJMlZLE-cSBpjcLS4Q\">trying to come clean\u003c/a> as they entered the spotlight. Still, during 2019’s Rolling Loud NYC, the first time the rap-focused festival landed in the genre’s birthplace, the NYPD removed Jackson, Sheff G, 22Gz and two more of the drill scene’s rising rappers from the lineup.\u003c/p>\n\u003cp>As drill continues to rise in popularity, Jackson may be remembered as the face of the the scene’s ongoing battle with the NYPD.\u003c/p>\n\u003cp>The situation at Rolling Loud didn’t slow him down; if anything, it seemed to put a battery in his back. \u003cem>Meet The Woo\u003c/em> \u003cem>2\u003c/em>, released just weeks ago on Feb. 7, was a thrilling update to the first tape’s sound, debuting at No. 7 on the Billboard 200 albums chart. It’s easy to say that it sounds like a rapper mastering his form but the truth is that Pop Smoke’s music was distinctly his own, defying pat categorization or classification.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pop+Smoke%2C+Rising+New+York+Rapper%2C+Dead+At+20&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The young rapper just released his second mixtape, 'Meet The Woo 2,' last week, before dying in the early morning on Wednesday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bashar Jackson, better known as the rapper Pop Smoke, has died. He was 20 years old. The news was confirmed to NPR in a statement from Republic Records, a label Jackson had worked with.\u003c/p>\n\u003cp>Jackson’s cause of death was not confirmed, though in \u003ca href=\"https://www.youtube.com/watch?v=6pzGhUe3UVA\">a press conference today\u003c/a>, LAPD Captain Steve Lurie said that “at 4:55 this morning,” LAPD officers received a phone call “from back east” that a house in the Hollywood Hills had been broken into, and that when officers arrived on the scene they discovered a shooting victim. The victim was then transported to Cedars-Sinai Hospital, where they were pronounced dead.\u003c/p>\n\u003cp>“We are devastated by the unexpected and tragic loss of Pop Smoke,” Republic Records’ statement reads. “Our prayers and thoughts go out to his family, friends and fans, as we mourn this loss together.”\u003c/p>\n\u003cp>Jackson was raised in Canarsie, Brooklyn, growing up in a neighborhood and moment defined by cultural exchange. He was raised in a Panamanian household, he lived around West Indians, he played African drums in church and his first love as a recording artist was a beat from a U.K. producer who goes by 808Melo. That beat turned into Jackson’s first song, “MPR,” which he released in December 2018. Even in that early work, you could hear what millions more would gravitate towards over the next year: Jackson had a \u003cem>voice\u003c/em> — billowing and ghoulish, scorched and scarily effortless. And his ear for beats was unlike any other in the nascent New York drill scene, a regional bubble of rappers taking on propulsive drum patterns with gritty street talk. Jackson dared to rap with a thick Brooklyn accent over grime-inflected beats with bass lines that sounded like transmissions from another planet.\u003c/p>\n\u003cp>The lodestar for a New York drill hit may forever be Jackson’s “Welcome To The Party.” — the city typically has its own song of the summer every year, and “Welcome To The Party” was the runaway favorite in 2019. A bludgeoning ode to excess, the single — which received remixes from Nicki Minaj, ASAP Ferg, Meek Mill and more — catapulted Jackson into the upper echelon of the city’s rap talent. A deal with Republic Records followed soon after, as did his debut mixtape, \u003cem>Meet The Woo\u003c/em>, and his second national hit, “Dior.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Jackson’s rapid success came increased attention from the NYPD. The rapper had a history of crime, but he and others from the New York drill scene were \u003ca href=\"https://www.google.com/url?q=https://www.rollingstone.com/music/music-news/rolling-loud-nypd-pulled-5-rappers-from-festival-repercussions-901144/&sa=D&ust=1582156803692000&usg=AFQjCNGR43jldNf5YJMlZLE-cSBpjcLS4Q\">trying to come clean\u003c/a> as they entered the spotlight. Still, during 2019’s Rolling Loud NYC, the first time the rap-focused festival landed in the genre’s birthplace, the NYPD removed Jackson, Sheff G, 22Gz and two more of the drill scene’s rising rappers from the lineup.\u003c/p>\n\u003cp>As drill continues to rise in popularity, Jackson may be remembered as the face of the the scene’s ongoing battle with the NYPD.\u003c/p>\n\u003cp>The situation at Rolling Loud didn’t slow him down; if anything, it seemed to put a battery in his back. \u003cem>Meet The Woo\u003c/em> \u003cem>2\u003c/em>, released just weeks ago on Feb. 7, was a thrilling update to the first tape’s sound, debuting at No. 7 on the Billboard 200 albums chart. It’s easy to say that it sounds like a rapper mastering his form but the truth is that Pop Smoke’s music was distinctly his own, defying pat categorization or classification.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Andrew Flanagan.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pop+Smoke%2C+Rising+New+York+Rapper%2C+Dead+At+20&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "discos-resacas-cumbia-traces-the-movement-of-the-bay-areas-latinx-diaspora",
"title": "Discos Resaca's Cumbia Traces the Movement of the Bay Area's Latinx Diaspora",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400;\">Music by the collective\u003c/span> \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Discos Resaca\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">—\u003c/span>\u003cspan style=\"font-weight: 400;\">Spanish for hangover—leaves listeners feeling anything but zapped. The family of Bay Area musicians specializes in cumbia—the popular, accordion-forward and rhythmically percussive genre of Latin music with variations from Colombia, Peru, Mexico and beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Yet Resaca’s sounds are distinctly from the Bay Area: they mix traditional cumbias with hip-hop and oldies, honoring the band members’ roots while providing a solid party soundtrack. Resaca recently released their first LP, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, an album of 11 original cumbias with vocals by Las Mariposas del Alma, the Oakland-based Meza sisters who lead the collective with soaring harmonies.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> (And I’ll Tell You) is full of powerful stories, a traditional feature of cumbia. Some songs tell tall tales (“Chupacabra”), others big up their communities throughout the Bay (“Cumbia de San Jose” and “San Juan”) and several tell the history of the area’s cumbia movement (“Movimiento De Cumbia”). The album’s love songs meld boleros, corridos, cumbia and cha-cha with mid-tempo soul, forming a familiar aural history.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“For many of us, storytelling is a part of our lives—the elders are always telling stories. Sometimes they’re true, sometimes they’re stretched, sometimes they’re a bit scary, but that’s a huge part of the culture and that’s what these songs are and that’s what this album is,” says accordion player Ivan Flores, Resaca’s bandleader and founder who’s spent more than 20 years playing in local groups including La Colectiva Tokeson and Lado Oriente.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Discos Resaca is an evolving family of musicians, though its core is a group of eight to ten cumbia veterans, including guitarists Fabian Martinez and Erik Molina, percussionist\u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/candelarias-second-life/Content?oid=19389948\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Wilson Posada\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and conguero Pedro Rosales. They’ve performed in various configurations for years, including as\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=s8rc3iq3m4M&fbclid=IwAR1E060uDv0_O6AE4HsXQ-1T6u0jaMRqVnuRtDFBByDYMgcrI5TNIuyVWME\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Los Leones de la Cumbia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and at venues and warehouse parties throughout the East Bay. The band first met the three Meza sisters during a performance with\u003c/span>\u003ca href=\"https://www.chulitavinylclub.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Chulita Vinyl Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> at the Legionnaire in Oakland in 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“My sister Jasmin was part of Chulita Vinyl Club and…the Discos Resaca collective was filming a video for one of their songs,” says Mariposa Nathaly Meza. “Because of their vision, and the collective and the way that they think, they were asking whoever wanted to to get on stage to dance or sing or whatever, and we happened to be there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca brought Las Mariposas del Alma into the fold soon after, and they also regularly collaborate with\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=b4ZysTcZRn8\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Philthy Dronez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, Combo Tezeta and the rapper\u003c/span>\u003ca href=\"https://www.needledrop.co/artists/deuce-eclipse/\"> \u003cspan style=\"font-weight: 400;\">Deuce Eclipse\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> (who’s featured on “Charamusca”).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We’re promoting everyone in the Bay Area, all the bands….It’s more of a collective advancement,” Flores says. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/rzOX28sO-H8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca have their own tales to tell, too. Flores wrote the album’s title track days after attending the funeral of his mentor, San Jose bandleader and songwriter Kiko Morales. Title track “Y Te Cuento” is about dealing with loss, and Flores said the completed song “just came to me. It’s almost like I had help writing it, if you catch where I’m going.” The song also resonates with the Mezas, whose mother passed away in November 2017—the same month Morales died.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“That song helps us heal,” Meza says. “When you’re sad or going through a loss, you wouldn’t think to listen to something like cumbia and relate to it. It’s a great song that you can grieve to, but not necessarily feel bad; it feels bittersweet.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">While “Y Te Cuento” may unite listeners through the pangs of loss, Resaca and Las Mariposas connected international communities of soulero fans, sweet soul collectors and cumbia heads with their cover of\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ogf0PjQgV8k\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">The Fuzz’s 1971 soul song\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> “I Love You For All Seasons.” The collective’s blisteringly gorgeous take is a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=I4dSz4RPtYs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">cumbioldie\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">” that mixes the syncopation of traditional cumbias with mid-tempo soul sung in English and Spanish. The 45” single quickly sold out and brought the collective distribution in Japan through Shin Miyata’s\u003c/span>\u003ca href=\"https://aldianews.com/articles/culture/music/record-label-opens-door-chicano-culture-japan/55196\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Barrio Gold Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/I4dSz4RPtYs\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We grew up where, if you’re at a BBQ, you’re going to here an oldie, you’re going to hear a corrido, you’re going to hear banda, you’re going to hear cumbia, salsa,” says Flores, adding that fans of cumbia and oldies don’t always mix. “So, by us doing that, we’re representing our upbringing, representing our culture through music, blending what’s familiar and comfortable to us and what we like into one.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Fans of Resaca’s cumbioldie will appreciate the histories of the evolving cumbia community on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">Flores recalls that when he performed with La Colectiva in 2004 and 2005, there were few other cumbia groups in the Bay Area, and the scene was mostly happening at warehouse parties in West and pockets of East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“They were always jam packed…and a lot of [attendees] became musicians and started bands. Now, it’s come out of the underground and every club has a cumbia night. It blows my mind,” Flores says. “But it makes so much sense—everyone always had a great time and it’s not really a genre or vibe that promotes any kind of aggression. There’s so many bands out now, it’s amazing to see it grow.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Today, you can find a cumbia DJ or performance most nights\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">all over the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: there’s the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> collective in San Jose, Sonido Baylando’s\u003c/span>\u003ca href=\"https://www.facebook.com/events/1002949240059196/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, multiple nights at the Legionnaire,\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Cartel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> performances at various venues, gigs at\u003c/span>\u003ca href=\"https://www.facebook.com/events/181503973085130/?acontext=%7B%22ref%22%3A%2244%22%2C%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22permalink%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22RHC%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">La Estrellita Café\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in Eastlake and bands like\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13809210/la-misa-negras-second-album-serves-cumbia-with-a-punk-attitude\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\"> La Misa Negra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. DJ Roger Mas (whose label,\u003c/span>\u003ca href=\"https://www.discogs.com/label/686604-Discos-M%C3%A1s\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Discos Mas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, releases a plethora of cumbias) and others play cumbias and pan-Latin music at El Superritmo at the Make Out Room, and LA’s \u003c/span>\u003ca href=\"https://www.cumbiaton.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Cumbiaton\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> hosts events in the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13875090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KN3A8831-800x533.jpg\" alt=\"The Meza sisters of Mariposas Del Alma.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Meza sisters of Mariposas Del Alma. \u003ccite>(Paolo J Riveros for Cumbiation LA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The prevalence of cumbia in local nightlife is exciting, though some club owners aren’t always concerned with cumbia’s message or cultural expression, Flores says, and simply care that it brings bodies through the door.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“To quote a line from ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=2woP4PiWI_E\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">El Moviemento de Cumbia’\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: ‘Not long ago, you guys didn’t want to hear this, and now everywhere I look people are dancing and listening to cumbia,’” Flores says. “We come in and try to balance it out by saying we’re going to have a good time, and you’re probably going to drink, but we’re going to say what we want to say. We talk a lot in between songs, too, about our inspirations.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca’s platform, and that of other cumbia groups and DJs in the community, is inherently political in a rapidly gentrifying and often inequitable region. “On the daily, attempts are made to erase our local history, shutting down long time local businesses, destroying iconic artwork, closing schools…the list goes on. ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=eVQZdkqZDh4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">La Gentrificadora\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">’ is our contribution to the movement,” Resaca wrote of its next single on\u003c/span>\u003ca href=\"https://www.instagram.com/p/B36ZUDggXMU/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Contributing to a movement and to their communities is at the core of Discos Resaca’s message. The collective regularly performs at all-ages community festivals in San Jose (where Flores was born and raised, and lived before being priced out) and bring their families.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We enjoy getting back to the community where everything started. San Jose is one of our favorite spots to play; it’s great to see familiar faces and people who are just finding out about us,” Meza says. “People see that we were born and raised here too. Especially for the youth, they’re looking, and watching and getting inspired, which is very important for everyone.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Discos Resaca and Las Mariposas Del Alma perform at the\u003c/span>\u003c/i>\u003ca href=\"https://ivyroom.ticketfly.com/e/underground-cumbiamba-discos-resaca-calafia-armada-dj-sue-problema-cvc--86693459471/\"> \u003ci>\u003cspan style=\"font-weight: 400;\">Ivy Room in Albany\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> alongside Calafia Armada on Feb. 21.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "On 'Y Te Cuento,' a collaboration with Mariposas Del Alma, cumbia is a language for processing grief and joy alike.",
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"title": "Discos Resaca's Cumbia Traces the Movement of the Bay Area's Latinx Diaspora | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Music by the collective\u003c/span> \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Discos Resaca\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">—\u003c/span>\u003cspan style=\"font-weight: 400;\">Spanish for hangover—leaves listeners feeling anything but zapped. The family of Bay Area musicians specializes in cumbia—the popular, accordion-forward and rhythmically percussive genre of Latin music with variations from Colombia, Peru, Mexico and beyond.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Yet Resaca’s sounds are distinctly from the Bay Area: they mix traditional cumbias with hip-hop and oldies, honoring the band members’ roots while providing a solid party soundtrack. Resaca recently released their first LP, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, an album of 11 original cumbias with vocals by Las Mariposas del Alma, the Oakland-based Meza sisters who lead the collective with soaring harmonies.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> (And I’ll Tell You) is full of powerful stories, a traditional feature of cumbia. Some songs tell tall tales (“Chupacabra”), others big up their communities throughout the Bay (“Cumbia de San Jose” and “San Juan”) and several tell the history of the area’s cumbia movement (“Movimiento De Cumbia”). The album’s love songs meld boleros, corridos, cumbia and cha-cha with mid-tempo soul, forming a familiar aural history.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“For many of us, storytelling is a part of our lives—the elders are always telling stories. Sometimes they’re true, sometimes they’re stretched, sometimes they’re a bit scary, but that’s a huge part of the culture and that’s what these songs are and that’s what this album is,” says accordion player Ivan Flores, Resaca’s bandleader and founder who’s spent more than 20 years playing in local groups including La Colectiva Tokeson and Lado Oriente.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Discos Resaca is an evolving family of musicians, though its core is a group of eight to ten cumbia veterans, including guitarists Fabian Martinez and Erik Molina, percussionist\u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/candelarias-second-life/Content?oid=19389948\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Wilson Posada\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and conguero Pedro Rosales. They’ve performed in various configurations for years, including as\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=s8rc3iq3m4M&fbclid=IwAR1E060uDv0_O6AE4HsXQ-1T6u0jaMRqVnuRtDFBByDYMgcrI5TNIuyVWME\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Los Leones de la Cumbia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and at venues and warehouse parties throughout the East Bay. The band first met the three Meza sisters during a performance with\u003c/span>\u003ca href=\"https://www.chulitavinylclub.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Chulita Vinyl Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> at the Legionnaire in Oakland in 2018.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“My sister Jasmin was part of Chulita Vinyl Club and…the Discos Resaca collective was filming a video for one of their songs,” says Mariposa Nathaly Meza. “Because of their vision, and the collective and the way that they think, they were asking whoever wanted to to get on stage to dance or sing or whatever, and we happened to be there.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca brought Las Mariposas del Alma into the fold soon after, and they also regularly collaborate with\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=b4ZysTcZRn8\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Philthy Dronez\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, Combo Tezeta and the rapper\u003c/span>\u003ca href=\"https://www.needledrop.co/artists/deuce-eclipse/\"> \u003cspan style=\"font-weight: 400;\">Deuce Eclipse\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> (who’s featured on “Charamusca”).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We’re promoting everyone in the Bay Area, all the bands….It’s more of a collective advancement,” Flores says. \u003c/span>\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/rzOX28sO-H8'\n title='//www.youtube.com/embed/rzOX28sO-H8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca have their own tales to tell, too. Flores wrote the album’s title track days after attending the funeral of his mentor, San Jose bandleader and songwriter Kiko Morales. Title track “Y Te Cuento” is about dealing with loss, and Flores said the completed song “just came to me. It’s almost like I had help writing it, if you catch where I’m going.” The song also resonates with the Mezas, whose mother passed away in November 2017—the same month Morales died.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“That song helps us heal,” Meza says. “When you’re sad or going through a loss, you wouldn’t think to listen to something like cumbia and relate to it. It’s a great song that you can grieve to, but not necessarily feel bad; it feels bittersweet.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">While “Y Te Cuento” may unite listeners through the pangs of loss, Resaca and Las Mariposas connected international communities of soulero fans, sweet soul collectors and cumbia heads with their cover of\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ogf0PjQgV8k\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">The Fuzz’s 1971 soul song\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> “I Love You For All Seasons.” The collective’s blisteringly gorgeous take is a “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=I4dSz4RPtYs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">cumbioldie\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">” that mixes the syncopation of traditional cumbias with mid-tempo soul sung in English and Spanish. The 45” single quickly sold out and brought the collective distribution in Japan through Shin Miyata’s\u003c/span>\u003ca href=\"https://aldianews.com/articles/culture/music/record-label-opens-door-chicano-culture-japan/55196\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Barrio Gold Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\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/I4dSz4RPtYs'\n title='//www.youtube.com/embed/I4dSz4RPtYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">“We grew up where, if you’re at a BBQ, you’re going to here an oldie, you’re going to hear a corrido, you’re going to hear banda, you’re going to hear cumbia, salsa,” says Flores, adding that fans of cumbia and oldies don’t always mix. “So, by us doing that, we’re representing our upbringing, representing our culture through music, blending what’s familiar and comfortable to us and what we like into one.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Fans of Resaca’s cumbioldie will appreciate the histories of the evolving cumbia community on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Y Te Cuento. \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">Flores recalls that when he performed with La Colectiva in 2004 and 2005, there were few other cumbia groups in the Bay Area, and the scene was mostly happening at warehouse parties in West and pockets of East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“They were always jam packed…and a lot of [attendees] became musicians and started bands. Now, it’s come out of the underground and every club has a cumbia night. It blows my mind,” Flores says. “But it makes so much sense—everyone always had a great time and it’s not really a genre or vibe that promotes any kind of aggression. There’s so many bands out now, it’s amazing to see it grow.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Today, you can find a cumbia DJ or performance most nights\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">all over the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: there’s the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> collective in San Jose, Sonido Baylando’s\u003c/span>\u003ca href=\"https://www.facebook.com/events/1002949240059196/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, multiple nights at the Legionnaire,\u003c/span>\u003ca href=\"https://www.facebook.com/groups/Cumbiabayarea/?ref=search\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Cumbia Cartel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> performances at various venues, gigs at\u003c/span>\u003ca href=\"https://www.facebook.com/events/181503973085130/?acontext=%7B%22ref%22%3A%2244%22%2C%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22permalink%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22RHC%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">La Estrellita Café\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in Eastlake and bands like\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13809210/la-misa-negras-second-album-serves-cumbia-with-a-punk-attitude\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\"> La Misa Negra\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. DJ Roger Mas (whose label,\u003c/span>\u003ca href=\"https://www.discogs.com/label/686604-Discos-M%C3%A1s\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Discos Mas\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, releases a plethora of cumbias) and others play cumbias and pan-Latin music at El Superritmo at the Make Out Room, and LA’s \u003c/span>\u003ca href=\"https://www.cumbiaton.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Cumbiaton\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> hosts events in the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13875090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KN3A8831-800x533.jpg\" alt=\"The Meza sisters of Mariposas Del Alma.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KN3A8831.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Meza sisters of Mariposas Del Alma. \u003ccite>(Paolo J Riveros for Cumbiation LA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The prevalence of cumbia in local nightlife is exciting, though some club owners aren’t always concerned with cumbia’s message or cultural expression, Flores says, and simply care that it brings bodies through the door.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“To quote a line from ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=2woP4PiWI_E\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">El Moviemento de Cumbia’\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">: ‘Not long ago, you guys didn’t want to hear this, and now everywhere I look people are dancing and listening to cumbia,’” Flores says. “We come in and try to balance it out by saying we’re going to have a good time, and you’re probably going to drink, but we’re going to say what we want to say. We talk a lot in between songs, too, about our inspirations.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Resaca’s platform, and that of other cumbia groups and DJs in the community, is inherently political in a rapidly gentrifying and often inequitable region. “On the daily, attempts are made to erase our local history, shutting down long time local businesses, destroying iconic artwork, closing schools…the list goes on. ‘\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=eVQZdkqZDh4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">La Gentrificadora\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">’ is our contribution to the movement,” Resaca wrote of its next single on\u003c/span>\u003ca href=\"https://www.instagram.com/p/B36ZUDggXMU/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400;\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Contributing to a movement and to their communities is at the core of Discos Resaca’s message. The collective regularly performs at all-ages community festivals in San Jose (where Flores was born and raised, and lived before being priced out) and bring their families.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“We enjoy getting back to the community where everything started. San Jose is one of our favorite spots to play; it’s great to see familiar faces and people who are just finding out about us,” Meza says. “People see that we were born and raised here too. Especially for the youth, they’re looking, and watching and getting inspired, which is very important for everyone.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400;\">Discos Resaca and Las Mariposas Del Alma perform at the\u003c/span>\u003c/i>\u003ca href=\"https://ivyroom.ticketfly.com/e/underground-cumbiamba-discos-resaca-calafia-armada-dj-sue-problema-cvc--86693459471/\"> \u003ci>\u003cspan style=\"font-weight: 400;\">Ivy Room in Albany\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> alongside Calafia Armada on Feb. 21.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Symphony Foregrounds Social Issues in Esa-Pekka Salonen's Debut Season",
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"content": "\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The 2020–21 season features works that respond to the rise of fascism, celebrate advancements in women's rights and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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": {
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"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"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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