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He was \u003cem>also\u003c/em> friends with Michael Jackson, for crying out loud.\u003c/p>\n\u003cp>But in the last decade, Macaulay Culkin has fashioned a place for himself in American pop culture that is consistently and unequivocally a surreal joy to behold—and he doesn’t get nearly enough mainstream attention for it.\u003c/p>\n\u003cp>Just this week, he took it upon himself to jump on stage with Lizzo at the Hollywood Palladium in order to do “The Sprinkler” and a bunch of other dance moves that suggest he knows exactly how bad he is at dancing.\u003c/p>\n\u003cp>Still, he was pleased enough with the end result to post a clip to Twitter:\u003c/p>\n\u003cp>https://twitter.com/IncredibleCulk/status/1186536743379456000\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=129&v=1Tn3rXeylkQ\u003c/p>\n\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\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/1Tn3rXeylkQ'\n title='//www.youtube.com/embed/1Tn3rXeylkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David King, the San Francisco artist best known for designing the English punk band Crass’ iconic and widely reproduced anti-establishment emblem, died at home Thursday following a years-long fight with cancer, his frequent publisher Colpa Press confirmed to KQED. He was 71.\u003c/p>\n\u003cp>The English-born designer, photographer and musician, who moved to San Francisco in 1982, created what would become known as the Crass symbol—a stencil-friendly design incorporating a cross and what he called a “diagonal, negating serpent” with two heads—more than 40 years ago to criticize the mixture of church and state. He also participated in New York’s Downtown scene of the 1980s and the Mission School milieu the next decade in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13868625\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868625\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png\" alt=\"David King's early rendering of the Crass symbol, published in "Secret Origins of the Crass Symbol."\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet-160x160.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">David King’s early rendering of the Crass symbol, published in “Secret Origins of the Crass Symbol.”\u003c/figcaption>\u003c/figure>\n\u003cp>The “explosive and memorable image” has “acquired a ubiquitous independence as a sign of protest,” design historian Steven Heller writes in a new book of King’s work. A popular tattoo, the symbol is perhaps rivaled only by Black Flag’s logo in subcultural prominence. It’s also been appropriated for commercial purposes, moving King in recent years to revisit the stark symbol in various publications and exhibitions with color and levity that better reflects his work’s tone.\u003c/p>\n\u003cp>“David’s iconic symbols were a badge of authenticity in the underground scenes across the globe in the pre-internet era, recognizable at 65 mph on the back of a squatter punk meandering down an alleyway at four in the morning,” writes the artist Barry McGee, who King met at the San Francisco Art Institute, in Gingko Press’ new \u003cem>David King Stencils\u003c/em>. “What symbol has even come remotely close to so immediately showing one’s allegiance to an ideology or attitude?”\u003c/p>\n\u003cp>King, remembered for his poise and sharp dress, was born in the United Kingdom on April 10, 1948. In a 2013 interview with this writer, he described being attracted to the “riots” and “beacons” of color in commercial designs on comic books and candy wrapping amid the grey, post-war cityscape. Mod fashion of the 1960s was more to his liking, and King attended art school from 1964 to 1967.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In college King met the artists eventually known as Penny Rimbaud and Gee Vaucher of Crass, afterwards working as a graphic designer. At the inception of punk, he gravitated towards stencils, subverting the militaristic style to promote peace. In 1977 at the communal Dial House near London, King encouraged Rimbaud to write down his criticisms of the state’s propagation of Christian values through public education, leading to the pamphlet \u003cem>Christ’s Reality Asylum\u003c/em>.\u003c/p>\n\u003cp>King designed a logo for the pamphlet that Rimbaud later that year adopted to represent the punk band Crass. “I think the symbol is very simple,” King said in the 2013 interview. “[It’s] against monolithic religious and cultural oppression.” Crass proved hugely influential as a band, agitprop art collective and eponymous record label on the development of anarcho-punk, famously aiming barbed invective at the policies of Margaret Thatcher and Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13868627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868627 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg\" alt='A page from \"The Journey,\" one of several David King artist books published by Colpa Press.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from “The Journey,” one of several David King artist books published by Colpa Press. \u003ccite>(Luca Antonucci/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1977, King moved to New York City and fell into the Downtown art and music scene, for instance creating imagery for the storied nightclub Danceteria. He moved with his Arsenal band mates in 1982 to San Francisco, where they reformed as Sleeping Dogs. The groups included his wife Dione. \u003cem>Beware\u003c/em>, which Crass Records released that year, contains anti-capitalist messages and carries King’s distinctive artwork—a Mickey Mouse skull in the middle of a nuclear radiation symbol—on the cover.\u003c/p>\n\u003cp>San Francisco visual artist Matt Borruso, whose 1980s punk group Crucifix often played with Sleeping Dogs, said King’s clean, pointed design style stood out against the city’s underground music scene at the time. “Dave’s work connected my parents’ generation and my generation,” he said. “It was this link between protest art of the 1960s and what we were doing basically as teenagers.” King’s later exchange and camaraderie with artists such as McGee, Borruso added, further shows his unique capacity to reach across scenes and sensibilities.\u003c/p>\n\u003cp>King attended the San Francisco Art Institute in the 1990s to continue studying painting, sculpture and photography, and in recent years published four artist books via Colpa Press. In 2018 Colpa’s now-closed shop exhibited King’s wooden sculptures and released a companion publication, \u003cem>The Journey\u003c/em>. King’s scrapbook-style collage and photography often explore themes of childhood; the self-published book \u003cem>Male Men\u003c/em> collecting stills from televised English puppet shows, for example, surfaces the narrow expressions of masculinity marketed to young people.\u003c/p>\n\u003cfigure id=\"attachment_13868628\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg\" alt=\"Flyer advertising a "spray day" as part of David King's Goteblüd exhibition in 2011.\" width=\"800\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyer advertising a “spray day” as part of David King’s Goteblüd exhibition in 2011.\u003c/figcaption>\u003c/figure>\n\u003cp>The Crass symbol has often been appropriated. In 2011, the fashion company Hardware added chains to the image and copyrighted it. “It seems ironic that chains have been added to the logo of a band whose abiding hope has been for the breaking of society’s restraints,” he wrote at the time. This particularly tone-deaf reuse of the image inspired King to begin reimagining it in brilliant colors as, say, a bird’s nest or teapot. Goteblüd, the defunct Mission District fanzine store, exhibited the results in 2011, publishing the pamphlet \u003cem>Secret Origins of the Crass Symbol\u003c/em>.\u003c/p>\n\u003cp>During the show Goteblüd hosted “spray days,” when attendees brought objects on which they stenciled the symbol while King watched. (Kind said in the 2013 interview he was amused when, around that time, local punks embellished the symbol with ticket stubs to protest a contentious Crass reunion show involving one original member.) Below one of his Crass symbol renderings in red, blue, yellow and green exhibited at Goteblüd and later Needles & Pens, King wrote, “The 70’s Were Not Colourful.” Colpa cofounder Luca Antonucci said King’s favorite color was yellow. “He likes comic books and once designed the Crass symbol,” reads Colpa’s King biography. “Whatever that is.”\u003c/p>\n\u003cp>Park Life store and gallery in the Inner Richmond is scheduled to host a King exhibition early next year co-curated by his friend and studio assistant Courtney Johnson.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>King is survived by his wife of 40 years Dione. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David King, the San Francisco artist best known for designing the English punk band Crass’ iconic and widely reproduced anti-establishment emblem, died at home Thursday following a years-long fight with cancer, his frequent publisher Colpa Press confirmed to KQED. He was 71.\u003c/p>\n\u003cp>The English-born designer, photographer and musician, who moved to San Francisco in 1982, created what would become known as the Crass symbol—a stencil-friendly design incorporating a cross and what he called a “diagonal, negating serpent” with two heads—more than 40 years ago to criticize the mixture of church and state. He also participated in New York’s Downtown scene of the 1980s and the Mission School milieu the next decade in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13868625\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868625\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png\" alt=\"David King's early rendering of the Crass symbol, published in "Secret Origins of the Crass Symbol."\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/3-David-King-Crass-Symbol-Early-Design-from-Goteblud-Pamphlet-160x160.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">David King’s early rendering of the Crass symbol, published in “Secret Origins of the Crass Symbol.”\u003c/figcaption>\u003c/figure>\n\u003cp>The “explosive and memorable image” has “acquired a ubiquitous independence as a sign of protest,” design historian Steven Heller writes in a new book of King’s work. A popular tattoo, the symbol is perhaps rivaled only by Black Flag’s logo in subcultural prominence. It’s also been appropriated for commercial purposes, moving King in recent years to revisit the stark symbol in various publications and exhibitions with color and levity that better reflects his work’s tone.\u003c/p>\n\u003cp>“David’s iconic symbols were a badge of authenticity in the underground scenes across the globe in the pre-internet era, recognizable at 65 mph on the back of a squatter punk meandering down an alleyway at four in the morning,” writes the artist Barry McGee, who King met at the San Francisco Art Institute, in Gingko Press’ new \u003cem>David King Stencils\u003c/em>. “What symbol has even come remotely close to so immediately showing one’s allegiance to an ideology or attitude?”\u003c/p>\n\u003cp>King, remembered for his poise and sharp dress, was born in the United Kingdom on April 10, 1948. In a 2013 interview with this writer, he described being attracted to the “riots” and “beacons” of color in commercial designs on comic books and candy wrapping amid the grey, post-war cityscape. Mod fashion of the 1960s was more to his liking, and King attended art school from 1964 to 1967.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In college King met the artists eventually known as Penny Rimbaud and Gee Vaucher of Crass, afterwards working as a graphic designer. At the inception of punk, he gravitated towards stencils, subverting the militaristic style to promote peace. In 1977 at the communal Dial House near London, King encouraged Rimbaud to write down his criticisms of the state’s propagation of Christian values through public education, leading to the pamphlet \u003cem>Christ’s Reality Asylum\u003c/em>.\u003c/p>\n\u003cp>King designed a logo for the pamphlet that Rimbaud later that year adopted to represent the punk band Crass. “I think the symbol is very simple,” King said in the 2013 interview. “[It’s] against monolithic religious and cultural oppression.” Crass proved hugely influential as a band, agitprop art collective and eponymous record label on the development of anarcho-punk, famously aiming barbed invective at the policies of Margaret Thatcher and Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13868627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13868627 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg\" alt='A page from \"The Journey,\" one of several David King artist books published by Colpa Press.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/1-David-King-A-page-from-the-Journey-photo-Luca-Antonucci-courtesy-Colpa-Press-e1571779281924-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A page from “The Journey,” one of several David King artist books published by Colpa Press. \u003ccite>(Luca Antonucci/Courtesy Colpa Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1977, King moved to New York City and fell into the Downtown art and music scene, for instance creating imagery for the storied nightclub Danceteria. He moved with his Arsenal band mates in 1982 to San Francisco, where they reformed as Sleeping Dogs. The groups included his wife Dione. \u003cem>Beware\u003c/em>, which Crass Records released that year, contains anti-capitalist messages and carries King’s distinctive artwork—a Mickey Mouse skull in the middle of a nuclear radiation symbol—on the cover.\u003c/p>\n\u003cp>San Francisco visual artist Matt Borruso, whose 1980s punk group Crucifix often played with Sleeping Dogs, said King’s clean, pointed design style stood out against the city’s underground music scene at the time. “Dave’s work connected my parents’ generation and my generation,” he said. “It was this link between protest art of the 1960s and what we were doing basically as teenagers.” King’s later exchange and camaraderie with artists such as McGee, Borruso added, further shows his unique capacity to reach across scenes and sensibilities.\u003c/p>\n\u003cp>King attended the San Francisco Art Institute in the 1990s to continue studying painting, sculpture and photography, and in recent years published four artist books via Colpa Press. In 2018 Colpa’s now-closed shop exhibited King’s wooden sculptures and released a companion publication, \u003cem>The Journey\u003c/em>. King’s scrapbook-style collage and photography often explore themes of childhood; the self-published book \u003cem>Male Men\u003c/em> collecting stills from televised English puppet shows, for example, surfaces the narrow expressions of masculinity marketed to young people.\u003c/p>\n\u003cfigure id=\"attachment_13868628\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg\" alt=\"Flyer advertising a "spray day" as part of David King's Goteblüd exhibition in 2011.\" width=\"800\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/2-David-King-Spray-Day-flyer-Goteblud-2011.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyer advertising a “spray day” as part of David King’s Goteblüd exhibition in 2011.\u003c/figcaption>\u003c/figure>\n\u003cp>The Crass symbol has often been appropriated. In 2011, the fashion company Hardware added chains to the image and copyrighted it. “It seems ironic that chains have been added to the logo of a band whose abiding hope has been for the breaking of society’s restraints,” he wrote at the time. This particularly tone-deaf reuse of the image inspired King to begin reimagining it in brilliant colors as, say, a bird’s nest or teapot. Goteblüd, the defunct Mission District fanzine store, exhibited the results in 2011, publishing the pamphlet \u003cem>Secret Origins of the Crass Symbol\u003c/em>.\u003c/p>\n\u003cp>During the show Goteblüd hosted “spray days,” when attendees brought objects on which they stenciled the symbol while King watched. (Kind said in the 2013 interview he was amused when, around that time, local punks embellished the symbol with ticket stubs to protest a contentious Crass reunion show involving one original member.) Below one of his Crass symbol renderings in red, blue, yellow and green exhibited at Goteblüd and later Needles & Pens, King wrote, “The 70’s Were Not Colourful.” Colpa cofounder Luca Antonucci said King’s favorite color was yellow. “He likes comic books and once designed the Crass symbol,” reads Colpa’s King biography. “Whatever that is.”\u003c/p>\n\u003cp>Park Life store and gallery in the Inner Richmond is scheduled to host a King exhibition early next year co-curated by his friend and studio assistant Courtney Johnson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Raphael Saadiq, Maya Jane Coles to Headline Noise Pop 2020",
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"content": "\u003cp>Founded in 1993 as an indie rock showcase, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> remains one of the Bay Area’s most unique music festivals as it widens its scope to include more genres, venues and corners of the local music scene. In recent years, the San Francisco-based fest grew to include shows in Oakland and Berkeley, and 2020 marks the first year it expands into Sacramento. Today, Noise Pop announced phase one of its 2020 lineup, and there’s plenty to look forward to when it takes over local clubs and concert halls Feb. 24- March 1, 2020.\u003c/p>\n\u003cp>Oakland music legend \u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener\">Raphael Saadiq\u003c/a> tops the bill with a \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/raphael-saadiq-jamila-woods-dj-duggz-tickets\" target=\"_blank\" rel=\"noopener\">headlining show\u003c/a> at his hometown’s Fox Theater on Feb. 28. Once a star of the West Coast R&B scene with his group Tony! Toni! Toné!, Saadiq went on to produce for top-tier artists like D’Angelo, Stevie Wonder and Solange—to name a few. His influence continues to shape R&B today with his work on the acclaimed soundtrack for HBO’s \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>British-Japanese techno producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/maya-jane-coles-tickets\" target=\"_blank\" rel=\"noopener\">Maya Jane Coles\u003c/a>‘ Feb. 28 show at 1015 Folsom in San Francisco is another lineup highlight, as well as violinist-singer-producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener\">Sudan Archives\u003c/a>‘ performance at Slim’s, also in San Francisco, on Feb. 24. Indie pop singer-songwriter \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/26/helado-negr-tickets\" target=\"_blank\" rel=\"noopener\">Helado Negro\u003c/a> performs at San Francisco’s Great American Music Hall on Feb. 26, and Sasami—the intimate, guitar-driven solo project of Cherry Glazerr’s keyboardist and guitarist of the same name—headlines \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/27/sasami-1571429611\" target=\"_blank\" rel=\"noopener\">Holy Diver\u003c/a> in Sacramento on Feb. 27 and \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/sasami-tickets\" target=\"_blank\" rel=\"noopener\">the Chapel\u003c/a> in San Francisco on Feb. 28.\u003c/p>\n\u003cp>The best part of Noise Pop is that showgoers can curate their experience, hopping around to multiple shows in one night or just attending one or two throughout the week. See phase one of the lineup in full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and we’ll update this post once more acts are announced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Founded in 1993 as an indie rock showcase, \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> remains one of the Bay Area’s most unique music festivals as it widens its scope to include more genres, venues and corners of the local music scene. In recent years, the San Francisco-based fest grew to include shows in Oakland and Berkeley, and 2020 marks the first year it expands into Sacramento. Today, Noise Pop announced phase one of its 2020 lineup, and there’s plenty to look forward to when it takes over local clubs and concert halls Feb. 24- March 1, 2020.\u003c/p>\n\u003cp>Oakland music legend \u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener\">Raphael Saadiq\u003c/a> tops the bill with a \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/raphael-saadiq-jamila-woods-dj-duggz-tickets\" target=\"_blank\" rel=\"noopener\">headlining show\u003c/a> at his hometown’s Fox Theater on Feb. 28. Once a star of the West Coast R&B scene with his group Tony! Toni! Toné!, Saadiq went on to produce for top-tier artists like D’Angelo, Stevie Wonder and Solange—to name a few. His influence continues to shape R&B today with his work on the acclaimed soundtrack for HBO’s \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>British-Japanese techno producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/maya-jane-coles-tickets\" target=\"_blank\" rel=\"noopener\">Maya Jane Coles\u003c/a>‘ Feb. 28 show at 1015 Folsom in San Francisco is another lineup highlight, as well as violinist-singer-producer \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener\">Sudan Archives\u003c/a>‘ performance at Slim’s, also in San Francisco, on Feb. 24. Indie pop singer-songwriter \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/26/helado-negr-tickets\" target=\"_blank\" rel=\"noopener\">Helado Negro\u003c/a> performs at San Francisco’s Great American Music Hall on Feb. 26, and Sasami—the intimate, guitar-driven solo project of Cherry Glazerr’s keyboardist and guitarist of the same name—headlines \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/27/sasami-1571429611\" target=\"_blank\" rel=\"noopener\">Holy Diver\u003c/a> in Sacramento on Feb. 27 and \u003ca href=\"http://schedule.noisepopfest.com/events/2020/2/28/sasami-tickets\" target=\"_blank\" rel=\"noopener\">the Chapel\u003c/a> in San Francisco on Feb. 28.\u003c/p>\n\u003cp>The best part of Noise Pop is that showgoers can curate their experience, hopping around to multiple shows in one night or just attending one or two throughout the week. See phase one of the lineup in full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and we’ll update this post once more acts are announced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For 40 years now, an all-female vocal ensemble from Oakland has led audiences in the Bay Area and beyond down a musical rabbit hole to visit the imagined recesses of our collective past in Europe and Eurasia.\u003c/p>\n\u003cp>The eight women of \u003ca href=\"http://www.kitka.org\" target=\"_blank\" rel=\"noopener\">Kitka Women’s Vocal Ensemble\u003c/a> call on that past in polyphonic unison, performing a staggering variety of traditional music that evokes, not \u003cem>your\u003c/em> past per se, but that of your great-grandmothers, in some village lost to the mists of time, and often, tragedy. It’s powerful stuff, both because the singing is fabulous, but also because the singers of Kitka do their homework and collaborate with people who come from the countries where these ancient lullabies, love songs and laments are sung.\u003c/p>\n\u003cp>This month, Kitka brought over \u003ca href=\"http://www.road-to-armenia.com/hasmik/hasmik.html\" target=\"_blank\" rel=\"noopener\">Hasmik Harutyunyan\u003c/a>, one of the premier voices of Armenian folk music, who runs the \u003ca href=\"https://musicofarmenia.com/shoghaken-folk-ensemble\" target=\"_blank\" rel=\"noopener\">Shoghaken Folk Ensemble\u003c/a> and directs the Hayrik Muradyan Traditional Song and Dance Children’s Ensemble in the Armenian capital, Yerevan. Tonight, she performs the last concert of a series, \u003cem>\u003ca href=\"http://www.kitka.org/events/2019/10/17/kitka-amp-hasmik-harutyunyan-in-concert-gorani-love-songs-and-lullabies-to-lost-homelands-435tp\" target=\"_blank\" rel=\"noopener\">Gorani: Love Songs to Lost Homelands\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Harutyunyan says the concerts delivers exactly what the title implies: a musical bridge to village life before the slaughter and forced diaspora of the early 20th century.\u003c/p>\n\u003cp>“After the concert, people are coming to me and sometimes they’re so excited. They’re telling, ‘Oh that’s the song my parents or grandparents were singing.’” This music, she says, takes them on a journey to their childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is actually our third collaborative project with Hasmik Harutyunyan,” says Kitka’s longtime artistic director Shira Cion. “She’s taught us so much. She’s so generous spirited. She’s like an encyclopedia of Armenian folk music.”\u003c/p>\n\u003cfigure id=\"attachment_13868488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg\" alt=\"Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences.\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences. \u003ccite>(Photo: Courtesy of Tomas Pacha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harutyunyan is no stranger to the US. She was last in the US with Kitka nearly ten years ago. She performed at Carnegie Hall and participated in Yo-Yo Ma’s \u003ca href=\"https://www.silkroad.org\" target=\"_blank\" rel=\"noopener\">Silk Road\u003c/a> Project. Her music can also be heard on the soundtrack of the film \u003cem>Ararat\u003c/em>.\u003c/p>\n\u003cp>Kitka’s fascination with Armenian folk singing might seem obvious, but the music is a departure from the rich harmonies and intricate ornamentation of traditional Eastern European vocal music Kitka is known for. (Kitka means “bouquet” in Bulgarian and Macedonian.)\u003c/p>\n\u003cp>“Armenian music is really a different colored crayon than what we’re accustomed to,” says Cion. “Most of Kitka’s repertoire is polyphonic, meaning scored for many voices singing in harmony. Whereas Armenian music is modal music and monodic music. So it’s different. It’s really based on melody lines that interact with a bass drone pitch. This sort of music is much more common in the Near East, in Indian music and Persian music. Because there isn’t so much fussing with the harmonies, the melody lines are particularly beautiful, intricate, rich and compelling.”\u003c/p>\n\u003cp>This program also features the music of by the Armenian composer and folk song collector Komitas Vardapet (1869-1935), an iconic figure in Armenian history.\u003c/p>\n\u003cp>“He was very much like Bartok was for Hungary or Alan Lomax was for American folk music. As a Western trained classical composer, he took inspiration from these folk melodies and created harmonized choral pieces in a more Western classical tradition, both for choirs and for the piano,” Cion says.\u003c/p>\n\u003cp>Thanks to the work of Vardapet and his students, thousands of traditional songs survived the Armenian Genocide of 1914-1923. Harutyunyan aims to do the same in modern times. \u003cem>Ororotsayin\u003c/em>, Harutyunyan’s new book and CD anthology of 57 historical Armenian lullabies, includes mostly songs that have never been recorded before.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fSDVgS7CTr4\u003c/p>\n\u003cp>Harutyunyan first learned to love her tradition at the knee of her grandmother who sang to her as a child in historic (Western) Armenia. As an adult, Harutyunyan picked up more from other grandmothers, as well as from their descendants and old song collections.\u003c/p>\n\u003cp>For Harutyunyan, this practice of ethnomusicology is not academic. “Folk songs are the road to take to go back to our homeland. If we lose that road, we are going to be lost forever.”\u003c/p>\n\u003cp>Along those lines, Harutyunyan notes, “We still have thousands of music, songs and melodies in \u003cem>khaz\u003c/em>. That’s the old Armenian notation system. We lost the key to read these melodies. So we are still waiting for some day when some smart generation will be able to read these melodies and songs.\u003c/p>\n\u003cp>There’s a sizable Armenian-American population \u003ca href=\"https://www.kqed.org/bayareabites/70323/food-spirituality-fall-feast-with-armenians-in-san-francisco\" target=\"_blank\" rel=\"noopener\">in the San Francisco Bay Area\u003c/a>, concentrated in and around San Francisco, Oakland and San Jose. Harutyunyan’s concerts typically draw a large turnout. Might there be some Silicon Valley techies in the audience game to take up that challenge? “Maybe,” she muses, laughing. “Computer now is doing so many amazing things. Why not? This is the time!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can catch the last concert of this series tonight at the Hammer Theatre Center in San Jose. \u003ca href=\"https://hammertheatre.com/calendar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Details here\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 40 years now, an all-female vocal ensemble from Oakland has led audiences in the Bay Area and beyond down a musical rabbit hole to visit the imagined recesses of our collective past in Europe and Eurasia.\u003c/p>\n\u003cp>The eight women of \u003ca href=\"http://www.kitka.org\" target=\"_blank\" rel=\"noopener\">Kitka Women’s Vocal Ensemble\u003c/a> call on that past in polyphonic unison, performing a staggering variety of traditional music that evokes, not \u003cem>your\u003c/em> past per se, but that of your great-grandmothers, in some village lost to the mists of time, and often, tragedy. It’s powerful stuff, both because the singing is fabulous, but also because the singers of Kitka do their homework and collaborate with people who come from the countries where these ancient lullabies, love songs and laments are sung.\u003c/p>\n\u003cp>This month, Kitka brought over \u003ca href=\"http://www.road-to-armenia.com/hasmik/hasmik.html\" target=\"_blank\" rel=\"noopener\">Hasmik Harutyunyan\u003c/a>, one of the premier voices of Armenian folk music, who runs the \u003ca href=\"https://musicofarmenia.com/shoghaken-folk-ensemble\" target=\"_blank\" rel=\"noopener\">Shoghaken Folk Ensemble\u003c/a> and directs the Hayrik Muradyan Traditional Song and Dance Children’s Ensemble in the Armenian capital, Yerevan. Tonight, she performs the last concert of a series, \u003cem>\u003ca href=\"http://www.kitka.org/events/2019/10/17/kitka-amp-hasmik-harutyunyan-in-concert-gorani-love-songs-and-lullabies-to-lost-homelands-435tp\" target=\"_blank\" rel=\"noopener\">Gorani: Love Songs to Lost Homelands\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Harutyunyan says the concerts delivers exactly what the title implies: a musical bridge to village life before the slaughter and forced diaspora of the early 20th century.\u003c/p>\n\u003cp>“After the concert, people are coming to me and sometimes they’re so excited. They’re telling, ‘Oh that’s the song my parents or grandparents were singing.’” This music, she says, takes them on a journey to their childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is actually our third collaborative project with Hasmik Harutyunyan,” says Kitka’s longtime artistic director Shira Cion. “She’s taught us so much. She’s so generous spirited. She’s like an encyclopedia of Armenian folk music.”\u003c/p>\n\u003cfigure id=\"attachment_13868488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg\" alt=\"Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences.\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences. \u003ccite>(Photo: Courtesy of Tomas Pacha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harutyunyan is no stranger to the US. She was last in the US with Kitka nearly ten years ago. She performed at Carnegie Hall and participated in Yo-Yo Ma’s \u003ca href=\"https://www.silkroad.org\" target=\"_blank\" rel=\"noopener\">Silk Road\u003c/a> Project. Her music can also be heard on the soundtrack of the film \u003cem>Ararat\u003c/em>.\u003c/p>\n\u003cp>Kitka’s fascination with Armenian folk singing might seem obvious, but the music is a departure from the rich harmonies and intricate ornamentation of traditional Eastern European vocal music Kitka is known for. (Kitka means “bouquet” in Bulgarian and Macedonian.)\u003c/p>\n\u003cp>“Armenian music is really a different colored crayon than what we’re accustomed to,” says Cion. “Most of Kitka’s repertoire is polyphonic, meaning scored for many voices singing in harmony. Whereas Armenian music is modal music and monodic music. So it’s different. It’s really based on melody lines that interact with a bass drone pitch. This sort of music is much more common in the Near East, in Indian music and Persian music. Because there isn’t so much fussing with the harmonies, the melody lines are particularly beautiful, intricate, rich and compelling.”\u003c/p>\n\u003cp>This program also features the music of by the Armenian composer and folk song collector Komitas Vardapet (1869-1935), an iconic figure in Armenian history.\u003c/p>\n\u003cp>“He was very much like Bartok was for Hungary or Alan Lomax was for American folk music. As a Western trained classical composer, he took inspiration from these folk melodies and created harmonized choral pieces in a more Western classical tradition, both for choirs and for the piano,” Cion says.\u003c/p>\n\u003cp>Thanks to the work of Vardapet and his students, thousands of traditional songs survived the Armenian Genocide of 1914-1923. Harutyunyan aims to do the same in modern times. \u003cem>Ororotsayin\u003c/em>, Harutyunyan’s new book and CD anthology of 57 historical Armenian lullabies, includes mostly songs that have never been recorded before.\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/fSDVgS7CTr4'\n title='//www.youtube.com/embed/fSDVgS7CTr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harutyunyan first learned to love her tradition at the knee of her grandmother who sang to her as a child in historic (Western) Armenia. As an adult, Harutyunyan picked up more from other grandmothers, as well as from their descendants and old song collections.\u003c/p>\n\u003cp>For Harutyunyan, this practice of ethnomusicology is not academic. “Folk songs are the road to take to go back to our homeland. If we lose that road, we are going to be lost forever.”\u003c/p>\n\u003cp>Along those lines, Harutyunyan notes, “We still have thousands of music, songs and melodies in \u003cem>khaz\u003c/em>. That’s the old Armenian notation system. We lost the key to read these melodies. So we are still waiting for some day when some smart generation will be able to read these melodies and songs.\u003c/p>\n\u003cp>There’s a sizable Armenian-American population \u003ca href=\"https://www.kqed.org/bayareabites/70323/food-spirituality-fall-feast-with-armenians-in-san-francisco\" target=\"_blank\" rel=\"noopener\">in the San Francisco Bay Area\u003c/a>, concentrated in and around San Francisco, Oakland and San Jose. Harutyunyan’s concerts typically draw a large turnout. Might there be some Silicon Valley techies in the audience game to take up that challenge? “Maybe,” she muses, laughing. “Computer now is doing so many amazing things. Why not? This is the time!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can catch the last concert of this series tonight at the Hammer Theatre Center in San Jose. \u003ca href=\"https://hammertheatre.com/calendar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Details here\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Antifascist Activists Protest Metal Music Festival This Weekend in Oakland",
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"content": "\u003cp>Local activists are objecting to a metal music festival this weekend in Oakland due to some performers’ use of Nazi-related imagery and what the critics consider connections to hate groups.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/NeverSurrenderFestival/\">Never Surrender Fest\u003c/a>, organized by metal labels Nuclear War Now and Iron Bonehead, features more than 20 artists Oct. 18-20 at Elbo Room Jack London and the Oakland Metro Operahouse.\u003c/p>\n\u003cp>An anonymous \u003ca href=\"https://nsbmboneheads.wordpress.com/\">blog post\u003c/a> published Thursday has spurred calls to protest the festival. “Let’s strategize how we shut this down,” reads the \u003ca href=\"https://www.facebook.com/events/531507064299287/?active_tab=about\">Facebook page\u003c/a> “NO NAZI FESTs in Oakland.” The blog post focuses on what it calls the “neo-Nazi ties” of four scheduled performers.\u003c/p>\n\u003cp>As the event’s detractors point out, the Florida band Black Witchery released a DVD in 2009 on Satanic Skinhead Propaganda, an underground label \u003ca href=\"https://www.tabletmag.com/jewish-arts-and-culture/music/156896/black-metal-antichrist-kramer\">well-known\u003c/a> for its racist and anti-Semitic acts. California act Bone Awl has used swastikas and a \u003cem>totenkopf\u003c/em>, the German symbol adopted by the Third Reich and popular among white supremacists, on its album art.\u003c/p>\n\u003cp>Eduardo Ramirez, booked at the fest as Volahn, leads Black Twilight Circle, a collective of largely Aztec- and Mayan-themed metal groups in Southern California. The blog post includes what it says is a photograph of Ramirez posing with Wolves of Vinland cofounder Paul Waggener, whose outfit the Southern Poverty Law Center \u003ca href=\"https://www.splcenter.org/fighting-hate/extremist-files/ideology/neo-volkisch\">calls\u003c/a> a “Neo-Volkisch hate group.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The post also criticizes Nuclear War Now and Iron Bonehead for distributing records by prominent black metal artists such as Varg Vikernes (Burzum), whose views are “closely aligned with neo-Nazism,” \u003ca href=\"https://www.splcenter.org/hatewatch/2019/04/12/suspect-church-burnings-influenced-black-metal-music-police-say-not-all-black-metal-same\">according\u003c/a> to the Southern Poverty Law Center.\u003c/p>\n\u003cp>The festival organizers reject descriptions of the scheduled acts as racist or fascist, saying the bulk of the blog post describes groups only tangentially connected to Never Surrender Fest.\u003c/p>\n\u003cp>“I have worked with the bands in question in the past and can tell you firsthand, I have never seen anything remotely fascist related by them or their fans,” Elbo Room co-owner Matt Shapiro said in a statement. “Both Elbo Room and Oakland Metro pride themselves on being safe spaces and supporting the community and of course, completely against fascism.”\u003c/p>\n\u003cp>“I have no interest in contributing to this useless drama full of lies,” wrote Nuclear War Now proprietor Yosuke Konishi, who also runs the Eastern Front record store in Oakland, in an email. “A big portion of the Bay Area metal scene consists of Latinos and other people of color, including myself. It seems that the people attacking the fest are completely misinformed about what I do.”\u003c/p>\n\u003cp>Most of the Never Surrender acts perform black metal, a style known for misanthropic themes. The genre is ideologically vast, but includes the racist subgenre National Socialist black metal (NSBM). Metal groups trafficking in Nazi-related imagery, whether cryptic or overt, often draw criticism for normalizing or promoting fascism, even when the artists themselves dispute the accusation.\u003c/p>\n\u003cp>Whether or not artists who use Nazi-related imagery should be allowed to perform, even if they say they reject racist or fascist views, is a subject of tense debate in the punk and metal subcultures. At a time when white supremacy is regaining visibility, antifascist activists routinely pressure venues to cancel controversial bookings.\u003c/p>\n\u003cp>Racist black metal groups are believed to comprise a small but closely-watched part of the scene. Earlier this year saw the first explicitly \u003ca href=\"https://www.newyorker.com/culture/culture-desk/heavy-metal-confronts-its-nazi-problem\">antifascist extreme metal festival\u003c/a> occur in New York City.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2017, the Metro \u003ca href=\"https://www.metalsucks.net/2017/02/17/oakland-metro-operahouse-cancels-marduk-show-in-the-interest-of-public-safety/\">reluctantly cancelled\u003c/a> a concert by Swedish metal group Marduk, citing concerns from Oakland police that antifascist activists would disrupt the event. Earlier this year the Metro also cancelled a show by Finnish black metal act Horna after the website Metal Sucks \u003ca href=\"https://www.metalsucks.net/2019/03/22/horna-band-with-nsbm-ties-scheduled-to-begin-u-s-tour-next-week/\">pointed out\u003c/a> band members’ “strong ties to the world of NSBM.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Local activists are objecting to a metal music festival this weekend in Oakland due to some performers’ use of Nazi-related imagery and what the critics consider connections to hate groups.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/NeverSurrenderFestival/\">Never Surrender Fest\u003c/a>, organized by metal labels Nuclear War Now and Iron Bonehead, features more than 20 artists Oct. 18-20 at Elbo Room Jack London and the Oakland Metro Operahouse.\u003c/p>\n\u003cp>An anonymous \u003ca href=\"https://nsbmboneheads.wordpress.com/\">blog post\u003c/a> published Thursday has spurred calls to protest the festival. “Let’s strategize how we shut this down,” reads the \u003ca href=\"https://www.facebook.com/events/531507064299287/?active_tab=about\">Facebook page\u003c/a> “NO NAZI FESTs in Oakland.” The blog post focuses on what it calls the “neo-Nazi ties” of four scheduled performers.\u003c/p>\n\u003cp>As the event’s detractors point out, the Florida band Black Witchery released a DVD in 2009 on Satanic Skinhead Propaganda, an underground label \u003ca href=\"https://www.tabletmag.com/jewish-arts-and-culture/music/156896/black-metal-antichrist-kramer\">well-known\u003c/a> for its racist and anti-Semitic acts. California act Bone Awl has used swastikas and a \u003cem>totenkopf\u003c/em>, the German symbol adopted by the Third Reich and popular among white supremacists, on its album art.\u003c/p>\n\u003cp>Eduardo Ramirez, booked at the fest as Volahn, leads Black Twilight Circle, a collective of largely Aztec- and Mayan-themed metal groups in Southern California. The blog post includes what it says is a photograph of Ramirez posing with Wolves of Vinland cofounder Paul Waggener, whose outfit the Southern Poverty Law Center \u003ca href=\"https://www.splcenter.org/fighting-hate/extremist-files/ideology/neo-volkisch\">calls\u003c/a> a “Neo-Volkisch hate group.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The post also criticizes Nuclear War Now and Iron Bonehead for distributing records by prominent black metal artists such as Varg Vikernes (Burzum), whose views are “closely aligned with neo-Nazism,” \u003ca href=\"https://www.splcenter.org/hatewatch/2019/04/12/suspect-church-burnings-influenced-black-metal-music-police-say-not-all-black-metal-same\">according\u003c/a> to the Southern Poverty Law Center.\u003c/p>\n\u003cp>The festival organizers reject descriptions of the scheduled acts as racist or fascist, saying the bulk of the blog post describes groups only tangentially connected to Never Surrender Fest.\u003c/p>\n\u003cp>“I have worked with the bands in question in the past and can tell you firsthand, I have never seen anything remotely fascist related by them or their fans,” Elbo Room co-owner Matt Shapiro said in a statement. “Both Elbo Room and Oakland Metro pride themselves on being safe spaces and supporting the community and of course, completely against fascism.”\u003c/p>\n\u003cp>“I have no interest in contributing to this useless drama full of lies,” wrote Nuclear War Now proprietor Yosuke Konishi, who also runs the Eastern Front record store in Oakland, in an email. “A big portion of the Bay Area metal scene consists of Latinos and other people of color, including myself. It seems that the people attacking the fest are completely misinformed about what I do.”\u003c/p>\n\u003cp>Most of the Never Surrender acts perform black metal, a style known for misanthropic themes. The genre is ideologically vast, but includes the racist subgenre National Socialist black metal (NSBM). Metal groups trafficking in Nazi-related imagery, whether cryptic or overt, often draw criticism for normalizing or promoting fascism, even when the artists themselves dispute the accusation.\u003c/p>\n\u003cp>Whether or not artists who use Nazi-related imagery should be allowed to perform, even if they say they reject racist or fascist views, is a subject of tense debate in the punk and metal subcultures. At a time when white supremacy is regaining visibility, antifascist activists routinely pressure venues to cancel controversial bookings.\u003c/p>\n\u003cp>Racist black metal groups are believed to comprise a small but closely-watched part of the scene. Earlier this year saw the first explicitly \u003ca href=\"https://www.newyorker.com/culture/culture-desk/heavy-metal-confronts-its-nazi-problem\">antifascist extreme metal festival\u003c/a> occur in New York City.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2017, the Metro \u003ca href=\"https://www.metalsucks.net/2017/02/17/oakland-metro-operahouse-cancels-marduk-show-in-the-interest-of-public-safety/\">reluctantly cancelled\u003c/a> a concert by Swedish metal group Marduk, citing concerns from Oakland police that antifascist activists would disrupt the event. Earlier this year the Metro also cancelled a show by Finnish black metal act Horna after the website Metal Sucks \u003ca href=\"https://www.metalsucks.net/2019/03/22/horna-band-with-nsbm-ties-scheduled-to-begin-u-s-tour-next-week/\">pointed out\u003c/a> band members’ “strong ties to the world of NSBM.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rightnowish: Honey Gold Jasmine's Superpowers of Balance",
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"content": "\u003cp>\u003cem>Note: This episode originally aired March 24, 2019\u003c/em>\u003c/p>\n\u003cp>When I met emcee and educator \u003ca href=\"https://www.officialhoneygold.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Honey Gold Jasmine\u003c/a> last summer, she told me she was about to drop an unusual project: an album combined with a digital comic book.\u003c/p>\n\u003cp>But when I saw her a few weeks later and asked about it, she showed me a teeny-tiny translucent jar. Inside of the jar there was a thin metal necklace with a precious stone attached. Atop the jar was a cork that had a USB device adorned to the bottom. I thought: \u003cem>What?\u003c/em>\u003c/p>\n\u003cp>It turned out that this was the project Honey Gold had told me about, \u003cem>Supanova 7: Gold Soil\u003c/em>, the tale of a heroine set to save the world through the power of music. But it didn’t look like I expected it to look.\u003c/p>\n\u003cfigure id=\"attachment_13853545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Supanova7-800x417.jpg\" alt=\"Honey Gold Jasmine's 'Supanova 7: Gold Soil' EP and a page from its accompanying graphic novel.\" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7.jpg 1100w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Gold Jasmine’s ‘Supanova 7: Gold Soil’ EP and a page from its accompanying graphic novel. \u003ccite>(Honey Gold Jasmine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After reading the comic and hearing her music, I noticed a trend: there was balance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was on full display the first time I saw Honey Gold perform at the Alena Museum in West Oakland. The Vallejo native took to the stage to perform some uptempo tracks that toed the line of hyphy music—and then doubled back with some sultry tunes that made me want to burn incense.\u003c/p>\n\u003cp>With the combination of crystals, comics and community empowerment, Honey Gold is a true Bay Area-based Libra. And on top of her stories about heroines saving the world and working as an educator at Bay Area based nonprofits, Honey Gold is a mother, as well—something she says provides her with personal superpowers, especially after being raised without a fruitful relationship with her own mom.\u003c/p>\n\u003cp>Hear my interview with the super-heroine herself at the audio link above.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Honey Gold Jasmine performs at the Alena Museum on March 30, and at San Francisco State on April 9–10. \u003ca href=\"https://www.officialhoneygold.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This episode originally aired March 24, 2019\u003c/em>\u003c/p>\n\u003cp>When I met emcee and educator \u003ca href=\"https://www.officialhoneygold.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Honey Gold Jasmine\u003c/a> last summer, she told me she was about to drop an unusual project: an album combined with a digital comic book.\u003c/p>\n\u003cp>But when I saw her a few weeks later and asked about it, she showed me a teeny-tiny translucent jar. Inside of the jar there was a thin metal necklace with a precious stone attached. Atop the jar was a cork that had a USB device adorned to the bottom. I thought: \u003cem>What?\u003c/em>\u003c/p>\n\u003cp>It turned out that this was the project Honey Gold had told me about, \u003cem>Supanova 7: Gold Soil\u003c/em>, the tale of a heroine set to save the world through the power of music. But it didn’t look like I expected it to look.\u003c/p>\n\u003cfigure id=\"attachment_13853545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Supanova7-800x417.jpg\" alt=\"Honey Gold Jasmine's 'Supanova 7: Gold Soil' EP and a page from its accompanying graphic novel.\" width=\"800\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-800x417.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7-1020x532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Supanova7.jpg 1100w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Gold Jasmine’s ‘Supanova 7: Gold Soil’ EP and a page from its accompanying graphic novel. \u003ccite>(Honey Gold Jasmine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After reading the comic and hearing her music, I noticed a trend: there was balance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was on full display the first time I saw Honey Gold perform at the Alena Museum in West Oakland. The Vallejo native took to the stage to perform some uptempo tracks that toed the line of hyphy music—and then doubled back with some sultry tunes that made me want to burn incense.\u003c/p>\n\u003cp>With the combination of crystals, comics and community empowerment, Honey Gold is a true Bay Area-based Libra. And on top of her stories about heroines saving the world and working as an educator at Bay Area based nonprofits, Honey Gold is a mother, as well—something she says provides her with personal superpowers, especially after being raised without a fruitful relationship with her own mom.\u003c/p>\n\u003cp>Hear my interview with the super-heroine herself at the audio link above.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Honey Gold Jasmine performs at the Alena Museum on March 30, and at San Francisco State on April 9–10. \u003ca href=\"https://www.officialhoneygold.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Kendrick Scott Oracle\u003c/strong>: Kendrick Scott’s a leader in this new style of jazz drumming that’s exploding right now; a mix of jazz and skittering electronica-style beats played on the drums. Some of the players in this style have taken all the swing out of jazz drumming, but not Scott. He’s recorded for Blue Note Records, and his music often references social change, such as his \u003ca href=\"https://youtu.be/CcyJlQLu6-8\" rel=\"noopener noreferrer\" target=\"_blank\">tribute to Philando Castile\u003c/a>. With his group the Kendrick Scott Oracle, his show this week in San Jose is part of a new series called Black Cab Jazz, where the capacity is just over 100 seats. That’s on Sunday, Oct. 20, at the Hammer Theater Center’s black box theater in San Jose. \u003ca href=\"https://hammertheatre.com/event/sj-jazz-hammer-theatre-cabaret-kendrick-scott/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Primary Wurld’\u003c/strong>: This group show at SWIM Gallery comes with a unique twist. All the installations, outfits, performers, snacks and even the audience will be in primary colors: blue, red or yellow. The curator, Baby Buu, seems really serious about this—there will actually be someone at the door checking outfits to make sure showgoers comply with the dress code. They’re keeping the art itself pretty hush-hush, but some interesting looking sculptures and club-kid looks related to the show have popped up on Instagram. The overall goal, though, is an immersive experience where the audience becomes the art. \u003cem>Primary Wurld\u003c/em> takes place on Saturday, Oct. 19, at SWIM Gallery in San Francisco. \u003ca href=\"http://www.luggagestoregallery.org/2019/09/primary-wurld/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Armenian Food Festival\u003c/strong>: When you think of Armenians in California, you might think of the Kardashians. But if you’re looking for traditional Armenian cuisine, it’s not exactly a staple of their TV show. Those curious about Armenian food are in luck, though, because fall is when Armenian churches in the Bay Area break out the food and dance. For 77 years, the St. John Armenian Church has held their food festival, where you can expect to see bread and butter (probably in the form of phyllo dough desserts), plus candied nuts and fruits, kufta and more. Proceeds benefit Armenian charities. That’s on Saturday and Sunday, Oct. 19 and 20, at St. John Armenian Church in San Francisco. \u003ca href=\"https://stjohnarmenianchurch.com/food-festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Headlands Center for the Arts Open House\u003c/strong>: If you’re looking to get out of town, the remote and beautiful Headlands Center for the Arts in the Marin Headlands holds an open house on Sunday. This isn’t your regular open house: it’s in a former Army barracks building that’s 100 years old, overlooking the Pacific Ocean. So if you get tired of seeing the studios of artists-in-residence—and I guarantee you won’t, the art is often astounding—but if you do, you can always go on a hike, or walk down to the beach. In fact, the building itself is art, since famous artists like Ann Hamilton and David Ireland added to it, and the bathrooms there are the weirdest and most fun bathrooms I’ve seen in years. That’s an open house on Sunday, Oct. 20, at the Headlands Center for the Arts. \u003ca href=\"http://www.headlands.org/event/fall-open-house-7/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Rock the Ship Festival\u003c/strong>: It seems only natural that the punk label Pirates Press Records would throw a show on the water. The centerpiece of the Rock the Ship festival comes on Saturday, Oct. 19, with an all-day punk rock extravaganza on the U.S.S. Hornet in Alameda, with influential British underground bands Cock Sparrer and Subhumans as headliners. Also playing: CJ Ramone, the Ramones’ bassist in the ’90s; all-woman anarcho-punk band Bad Cop/Bad Cop; and Oakland’s own Harrington Saints, plus lots of others. Off the ship and back on land, the festival also hosts four nights of shows at Starline Social Club in Oakland, Oct. 17–20. \u003ca href=\"http://www.rocktheshipfestival.com\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Nastia Voynovskaya and Grace Cheung, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Kendrick Scott Oracle\u003c/strong>: Kendrick Scott’s a leader in this new style of jazz drumming that’s exploding right now; a mix of jazz and skittering electronica-style beats played on the drums. Some of the players in this style have taken all the swing out of jazz drumming, but not Scott. He’s recorded for Blue Note Records, and his music often references social change, such as his \u003ca href=\"https://youtu.be/CcyJlQLu6-8\" rel=\"noopener noreferrer\" target=\"_blank\">tribute to Philando Castile\u003c/a>. With his group the Kendrick Scott Oracle, his show this week in San Jose is part of a new series called Black Cab Jazz, where the capacity is just over 100 seats. That’s on Sunday, Oct. 20, at the Hammer Theater Center’s black box theater in San Jose. \u003ca href=\"https://hammertheatre.com/event/sj-jazz-hammer-theatre-cabaret-kendrick-scott/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Primary Wurld’\u003c/strong>: This group show at SWIM Gallery comes with a unique twist. All the installations, outfits, performers, snacks and even the audience will be in primary colors: blue, red or yellow. The curator, Baby Buu, seems really serious about this—there will actually be someone at the door checking outfits to make sure showgoers comply with the dress code. They’re keeping the art itself pretty hush-hush, but some interesting looking sculptures and club-kid looks related to the show have popped up on Instagram. The overall goal, though, is an immersive experience where the audience becomes the art. \u003cem>Primary Wurld\u003c/em> takes place on Saturday, Oct. 19, at SWIM Gallery in San Francisco. \u003ca href=\"http://www.luggagestoregallery.org/2019/09/primary-wurld/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Armenian Food Festival\u003c/strong>: When you think of Armenians in California, you might think of the Kardashians. But if you’re looking for traditional Armenian cuisine, it’s not exactly a staple of their TV show. Those curious about Armenian food are in luck, though, because fall is when Armenian churches in the Bay Area break out the food and dance. For 77 years, the St. John Armenian Church has held their food festival, where you can expect to see bread and butter (probably in the form of phyllo dough desserts), plus candied nuts and fruits, kufta and more. Proceeds benefit Armenian charities. That’s on Saturday and Sunday, Oct. 19 and 20, at St. John Armenian Church in San Francisco. \u003ca href=\"https://stjohnarmenianchurch.com/food-festival\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Headlands Center for the Arts Open House\u003c/strong>: If you’re looking to get out of town, the remote and beautiful Headlands Center for the Arts in the Marin Headlands holds an open house on Sunday. This isn’t your regular open house: it’s in a former Army barracks building that’s 100 years old, overlooking the Pacific Ocean. So if you get tired of seeing the studios of artists-in-residence—and I guarantee you won’t, the art is often astounding—but if you do, you can always go on a hike, or walk down to the beach. In fact, the building itself is art, since famous artists like Ann Hamilton and David Ireland added to it, and the bathrooms there are the weirdest and most fun bathrooms I’ve seen in years. That’s an open house on Sunday, Oct. 20, at the Headlands Center for the Arts. \u003ca href=\"http://www.headlands.org/event/fall-open-house-7/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Rock the Ship Festival\u003c/strong>: It seems only natural that the punk label Pirates Press Records would throw a show on the water. The centerpiece of the Rock the Ship festival comes on Saturday, Oct. 19, with an all-day punk rock extravaganza on the U.S.S. Hornet in Alameda, with influential British underground bands Cock Sparrer and Subhumans as headliners. Also playing: CJ Ramone, the Ramones’ bassist in the ’90s; all-woman anarcho-punk band Bad Cop/Bad Cop; and Oakland’s own Harrington Saints, plus lots of others. Off the ship and back on land, the festival also hosts four nights of shows at Starline Social Club in Oakland, Oct. 17–20. \u003ca href=\"http://www.rocktheshipfestival.com\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sway Calloway's Free Block Party Celebrates Oakland's 'Cultural Well'",
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"content": "\u003cp>As one of the rap world’s most respected interviewers, Sway Calloway has held court with Barack Obama, become a meme with Kanye West (“\u003ca href=\"https://www.youtube.com/watch?v=Xwc-_DJEvgE\" target=\"_blank\" rel=\"noopener\">How Sway?!\u003c/a>“), and hosted popular programs on 106.1 KMEL, MTV and Sirius XM.\u003c/p>\n\u003cp>On Friday, Oct. 18, he returns to his hometown of Oakland for the first edition of Sway Fest, a live talk show and block party outside of Pandora headquarters, with performances from ’80s R&B icon (and Prince’s former drummer) Sheila E.; Oakland rap stars G-Eazy and Kamaiyah; the Town’s busiest MC, activist and entrepreneur, Mistah F.A.B.; up-and-coming Berkeley lyricist Rexx Life Raj and 17-year-old rapper and poet Jwalt. Admission is open to the public and free.\u003c/p>\n\u003cp>Highlighting the Bay Area’s homegrown hip-hop scene has been an ongoing theme in Sway’s storied career in music media. Now based in New York, he regularly makes room for Northern California talent on his SiriusXM show \u003cem>Sway in the Morning \u003c/em>among a roster of superstars.\u003c/p>\n\u003cp>“The mission was to always help the underdog, the artists who didn’t have the affiliation or resources to be on a mainstream platform,” Sway tells KQED.\u003c/p>\n\u003ch2>A Crucial Voice on ’90s Rap Radio\u003c/h2>\n\u003cp>Sway’s first gig in radio was \u003cem>The Wake Up Show\u003c/em> on KMEL, in 1990s San Francisco. After he won a local rap contest, and his music partner King Tech won a DJ contest, they were invited to guest-host a mix show on the station. When listeners called in praising Sway and King Tech’s music selection, the duo was offered a regular show. Known as keen tastemakers, Sway and King Tech used \u003cem>The Wake Up Show\u003c/em> to introduce their Northern California audience to seminal rap artists like The Fugees and Outkast, Sway recalls, and featured an ongoing segment of freestyle rap performances from then-rising stars like Jay-Z, Nas and Eminem.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/SIRIUSXM/status/1183876950152101888?s=20\u003c/p>\n\u003cp>Sway spent the better part of the 2000s at MTV, where he was best-known as the host of \u003cem>Total Request Live\u003c/em>. In 2011, as satellite radio began to take off, he migrated to Sirius XM, where he now hosts \u003cem>\u003ca href=\"https://swaysuniverse.com\" target=\"_blank\" rel=\"noopener\">Sway in the Morning\u003c/a> \u003c/em>on Eminem’s Shade45 channel. (Sirius \u003ca href=\"https://www.kqed.org/arts/13849625/pandoras-new-corporate-parents-gave-millions-to-trump-gop\" target=\"_blank\" rel=\"noopener\">recently acquired the streaming service Pandora\u003c/a>, where Sway Fest will take place.)\u003c/p>\n\u003cp>No matter where he broadcasts from, it’s clear Sway’s heart is in Oakland.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">ith Sirius XM, and now Pandora included, these are tech companies and they do pretty well. And now, they’re building their roots in Oakland. So \u003c/span>I think it’s important that we bring things to Oakland, and feed that cultural well of Oakland, that community,” says Sway. “And make sure that the folks who are actually from Oakland are able to benefit from these resources, that they’re recognized and that they’re able to enjoy the profits that will be coming in the near future.”\u003c/p>\n\u003cp>Along with a live talk show and musical performances at Sway Fest, Sway will interview activists from \u003ca href=\"https://kongosqwest.com/\" target=\"_blank\" rel=\"noopener\">Kongo SQ West Kinship Society\u003c/a>, which will collect donations of sweaters and socks for those in need, and the \u003ca href=\"http://choosecollege4life.com/\" target=\"_blank\" rel=\"noopener\">Choose College Educational Foundation\u003c/a>, a group that offers scholarships to local youth.\u003c/p>\n\u003ch2>Championing Bay Area Artists\u003c/h2>\n\u003cp>G-Eazy, who freestyled on \u003cem>Sway in the Morning\u003c/em> before scoring 10 entries on the Billboard Hot 100, is one of those artists Sway has championed from the early days of his career, when he was still selling CDs out of his backpack.\u003c/p>\n\u003cp>“I don’t think it was luck,” Sway says of G-Eazy’s rise. “I think it was a lot of hard work, mixed with talent, mixed with more hard work.”\u003c/p>\n\u003cfigure id=\"attachment_13868288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg\" alt=\"G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy's album premiere special for "The Beautiful & Damned" on SiriusXM's Shade 45 channel on December 5, 2017 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy’s album premiere special for “The Beautiful & Damned” on SiriusXM’s Shade 45 channel on December 5, 2017 in New York City. \u003ccite>(Astrid Stawiarz/Getty Images for SiriusXM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mistah F.A.B. is someone Sway has known since his \u003cem>Wake Up Show\u003c/em> days, when he was introduced to Sway as an out-of-this-world freestyle rapper. In the years that followed, F.A.B. became one of the defining voices of the Bay Area’s hyphy movement, co-wrote a hit single for Chris Brown, pioneered many philanthropic projects and opened a streetwear boutique-meets-community hub, Dope Era.\u003c/p>\n\u003cp>“He’s always in the heart of the community,” Sway says with admiration. “Whether he’s giving away backpacks, or creating safe spaces for kids to come to and be creative at Dope Era, he consistently makes music.”\u003c/p>\n\u003ch2>Deeper Than Rap\u003c/h2>\n\u003cp>These days, \u003cem>Sway in the Morning\u003c/em> and the online platform \u003ca href=\"https://swaysuniverse.com/\" target=\"_blank\" rel=\"noopener\">Sway’s Universe\u003c/a> are more than just hip-hop. Recently, Sway interviewed UC Berkeley \u003ca href=\"https://swaysuniverse.com/mary-e-power-talks-global-warming-hurt-ecosystems-and-the-serengeti-rules/\" target=\"_blank\" rel=\"noopener\">ecologist Mary E. Power\u003c/a> on climate change, and Sway’s Universe correspondent Mike Muse often reports on political issues like the rise of white nationalism.\u003c/p>\n\u003cp>That sums up Sway’s view of his show—and hip-hop as a medium—as a place where people can hold dialogue, even if they disagree. (Of Kanye West’s transformation into an avowed Trump supporter, he diplomatically says, “I think he’s well within his rights to have the political views that he has.”)\u003c/p>\n\u003cp>“We wheel out a lot of folks to speak from different perspectives and different sides of the fence, and sometimes folks get upset,” he says. “And I say, nah, it’s good that we all hear each other’s voices.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Sway Fest takes place on Oct. 18, 9am-1pm, on the block outside of Pandora Headquarters (on Franklin Street, between 21st and 22nd Streets in Oakland), and streams on Sirius XM channel 45. \u003ca href=\"https://www.prnewswire.com/news-releases/siriusxm-and-pandora-to-launch-inaugural-sway-fest-2019-on-october-18-300931265.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The legendary radio host returns to Oakland to host Sway Fest with G-Eazy, Kamaiyah, Sheila E. and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As one of the rap world’s most respected interviewers, Sway Calloway has held court with Barack Obama, become a meme with Kanye West (“\u003ca href=\"https://www.youtube.com/watch?v=Xwc-_DJEvgE\" target=\"_blank\" rel=\"noopener\">How Sway?!\u003c/a>“), and hosted popular programs on 106.1 KMEL, MTV and Sirius XM.\u003c/p>\n\u003cp>On Friday, Oct. 18, he returns to his hometown of Oakland for the first edition of Sway Fest, a live talk show and block party outside of Pandora headquarters, with performances from ’80s R&B icon (and Prince’s former drummer) Sheila E.; Oakland rap stars G-Eazy and Kamaiyah; the Town’s busiest MC, activist and entrepreneur, Mistah F.A.B.; up-and-coming Berkeley lyricist Rexx Life Raj and 17-year-old rapper and poet Jwalt. Admission is open to the public and free.\u003c/p>\n\u003cp>Highlighting the Bay Area’s homegrown hip-hop scene has been an ongoing theme in Sway’s storied career in music media. Now based in New York, he regularly makes room for Northern California talent on his SiriusXM show \u003cem>Sway in the Morning \u003c/em>among a roster of superstars.\u003c/p>\n\u003cp>“The mission was to always help the underdog, the artists who didn’t have the affiliation or resources to be on a mainstream platform,” Sway tells KQED.\u003c/p>\n\u003ch2>A Crucial Voice on ’90s Rap Radio\u003c/h2>\n\u003cp>Sway’s first gig in radio was \u003cem>The Wake Up Show\u003c/em> on KMEL, in 1990s San Francisco. After he won a local rap contest, and his music partner King Tech won a DJ contest, they were invited to guest-host a mix show on the station. When listeners called in praising Sway and King Tech’s music selection, the duo was offered a regular show. Known as keen tastemakers, Sway and King Tech used \u003cem>The Wake Up Show\u003c/em> to introduce their Northern California audience to seminal rap artists like The Fugees and Outkast, Sway recalls, and featured an ongoing segment of freestyle rap performances from then-rising stars like Jay-Z, Nas and Eminem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Sway spent the better part of the 2000s at MTV, where he was best-known as the host of \u003cem>Total Request Live\u003c/em>. In 2011, as satellite radio began to take off, he migrated to Sirius XM, where he now hosts \u003cem>\u003ca href=\"https://swaysuniverse.com\" target=\"_blank\" rel=\"noopener\">Sway in the Morning\u003c/a> \u003c/em>on Eminem’s Shade45 channel. (Sirius \u003ca href=\"https://www.kqed.org/arts/13849625/pandoras-new-corporate-parents-gave-millions-to-trump-gop\" target=\"_blank\" rel=\"noopener\">recently acquired the streaming service Pandora\u003c/a>, where Sway Fest will take place.)\u003c/p>\n\u003cp>No matter where he broadcasts from, it’s clear Sway’s heart is in Oakland.\u003c/p>\n\u003cp>“W\u003cspan style=\"font-weight: 400\">ith Sirius XM, and now Pandora included, these are tech companies and they do pretty well. And now, they’re building their roots in Oakland. So \u003c/span>I think it’s important that we bring things to Oakland, and feed that cultural well of Oakland, that community,” says Sway. “And make sure that the folks who are actually from Oakland are able to benefit from these resources, that they’re recognized and that they’re able to enjoy the profits that will be coming in the near future.”\u003c/p>\n\u003cp>Along with a live talk show and musical performances at Sway Fest, Sway will interview activists from \u003ca href=\"https://kongosqwest.com/\" target=\"_blank\" rel=\"noopener\">Kongo SQ West Kinship Society\u003c/a>, which will collect donations of sweaters and socks for those in need, and the \u003ca href=\"http://choosecollege4life.com/\" target=\"_blank\" rel=\"noopener\">Choose College Educational Foundation\u003c/a>, a group that offers scholarships to local youth.\u003c/p>\n\u003ch2>Championing Bay Area Artists\u003c/h2>\n\u003cp>G-Eazy, who freestyled on \u003cem>Sway in the Morning\u003c/em> before scoring 10 entries on the Billboard Hot 100, is one of those artists Sway has championed from the early days of his career, when he was still selling CDs out of his backpack.\u003c/p>\n\u003cp>“I don’t think it was luck,” Sway says of G-Eazy’s rise. “I think it was a lot of hard work, mixed with talent, mixed with more hard work.”\u003c/p>\n\u003cfigure id=\"attachment_13868288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg\" alt=\"G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy's album premiere special for "The Beautiful & Damned" on SiriusXM's Shade 45 channel on December 5, 2017 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/886607416-sway-and-g-eazy-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy talks with SiriusXM host Sway Calloway during G-Eazy’s album premiere special for “The Beautiful & Damned” on SiriusXM’s Shade 45 channel on December 5, 2017 in New York City. \u003ccite>(Astrid Stawiarz/Getty Images for SiriusXM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Mistah F.A.B. is someone Sway has known since his \u003cem>Wake Up Show\u003c/em> days, when he was introduced to Sway as an out-of-this-world freestyle rapper. In the years that followed, F.A.B. became one of the defining voices of the Bay Area’s hyphy movement, co-wrote a hit single for Chris Brown, pioneered many philanthropic projects and opened a streetwear boutique-meets-community hub, Dope Era.\u003c/p>\n\u003cp>“He’s always in the heart of the community,” Sway says with admiration. “Whether he’s giving away backpacks, or creating safe spaces for kids to come to and be creative at Dope Era, he consistently makes music.”\u003c/p>\n\u003ch2>Deeper Than Rap\u003c/h2>\n\u003cp>These days, \u003cem>Sway in the Morning\u003c/em> and the online platform \u003ca href=\"https://swaysuniverse.com/\" target=\"_blank\" rel=\"noopener\">Sway’s Universe\u003c/a> are more than just hip-hop. Recently, Sway interviewed UC Berkeley \u003ca href=\"https://swaysuniverse.com/mary-e-power-talks-global-warming-hurt-ecosystems-and-the-serengeti-rules/\" target=\"_blank\" rel=\"noopener\">ecologist Mary E. Power\u003c/a> on climate change, and Sway’s Universe correspondent Mike Muse often reports on political issues like the rise of white nationalism.\u003c/p>\n\u003cp>That sums up Sway’s view of his show—and hip-hop as a medium—as a place where people can hold dialogue, even if they disagree. (Of Kanye West’s transformation into an avowed Trump supporter, he diplomatically says, “I think he’s well within his rights to have the political views that he has.”)\u003c/p>\n\u003cp>“We wheel out a lot of folks to speak from different perspectives and different sides of the fence, and sometimes folks get upset,” he says. “And I say, nah, it’s good that we all hear each other’s voices.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Sway Fest takes place on Oct. 18, 9am-1pm, on the block outside of Pandora Headquarters (on Franklin Street, between 21st and 22nd Streets in Oakland), and streams on Sirius XM channel 45. \u003ca href=\"https://www.prnewswire.com/news-releases/siriusxm-and-pandora-to-launch-inaugural-sway-fest-2019-on-october-18-300931265.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch Taylor Swift's NPR Tiny Desk Concert",
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"headTitle": "Watch Taylor Swift’s NPR Tiny Desk Concert | KQED",
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"content": "\u003cp>As \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\">Taylor Swift\u003c/a> settled in for her Tiny Desk, she looked out at the 300-plus NPR employees and guests. “Wow! This is a lot of people in a tiny office!” she said. “I love it!” Then, after introducing herself, she explained her objective: “I just decided to take this as an opportunity to show you guys how the songs sounded when I first wrote them.”\u003c/p>\n\u003cp>It should come as no surprise that someone who commands stadium stages could hold court in NPR Music’s corner of our Washington, D.C. office — specifically, behind Bob Boilen’s desk — but Taylor Swift was truly at home in stripped-down, solo session mode. (“It’s just me. There’s no dancers, unfortunately,” she quipped.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=770318649&mediaId=770323524\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Opening with an acoustic rendition of “The Man,” from her 2019 album \u003cem>Lover, \u003c/em>Swift delivered a critique of gender double-standards with a sense of humor (and a perfectly deployed hair toss), Leonardo DiCaprio name-check and all. Turning to the piano for \u003cem>Lover\u003c/em>‘s title track, with a smile, she explained the guitar-string scars of the song’s bridge. Picking up the guitar again for “Death by a Thousand Cuts,” Swift confronted a question that she says has haunted her career: What will you ever do if you get happy? Across the song’s run-on thoughts and relentless searching, Swift offered an answer: She’ll continue to excel at crafting superb story-songs.\u003c/p>\n\u003cp>Though most Tiny Desk concerts stop at three songs, we couldn’t turn down the chance to hear “All Too Well” from Swift’s 2012 album, \u003ca href=\"https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album\">\u003cem>Red\u003c/em>\u003c/a>. Routinely cited by critics and fans alike as a favorite, the beloved track has become the stuff of Swiftie legends, striking in its \u003ca href=\"https://www.npr.org/2019/08/26/754300347/show-and-tell-on-lover-taylor-swift-lets-listeners-in-on-her-own-terms\">specificity\u003c/a> (that scarf!) and relatable in a way that anyone who has loved and lost can understand.\u003c/p>\n\u003cp>That sense of connection is at the heart of it all. Some 800 Tiny Desk concerts since we published our very first back \u003ca href=\"https://www.npr.org/sections/allsongs/2015/02/12/385532517/all-songs-at-15-our-first-ever-tiny-desk-concert\">in April of 2008\u003c/a>, the aim remains the same: In the midst of meetings and conference calls, Tiny Desk concerts offer respite from the workday and an opportunity to see an artist reimagine their work in a strange setting. It’s always special, but on some days, it feels downright magical. Watching Taylor Swift perform – and then interact with coworkers and guests who have grown up with her – was simply enchanting.\u003c/p>\n\u003ch3>SET LIST\u003c/h3>\n\u003cul>\n\u003cli>“The Man”\u003c/li>\n\u003cli>“Lover”\u003c/li>\n\u003cli>“Death by a Thousand Cuts”\u003c/li>\n\u003cli>“All Too Well”\u003c/li>\n\u003c/ul>\n\u003ch3>MUSICIAN\u003c/h3>\n\u003cp>\u003cem>Taylor Swift: vocals, guitar, piano\u003c/em>\u003c/p>\n\u003ch3>CREDITS\u003c/h3>\n\u003cp>\u003cem>Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineers: Josh Rogosin, Natasha Branch; Videographers: Morgan Noelle Smith, Kara Frame, Maia Stern; Associate Producer: Bobby Carter; Production Assistants: Jack Corbett, Mito Habe-Evans; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann; Photo: Bob Boilen/NPR\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\">Taylor Swift\u003c/a> settled in for her Tiny Desk, she looked out at the 300-plus NPR employees and guests. “Wow! This is a lot of people in a tiny office!” she said. “I love it!” Then, after introducing herself, she explained her objective: “I just decided to take this as an opportunity to show you guys how the songs sounded when I first wrote them.”\u003c/p>\n\u003cp>It should come as no surprise that someone who commands stadium stages could hold court in NPR Music’s corner of our Washington, D.C. office — specifically, behind Bob Boilen’s desk — but Taylor Swift was truly at home in stripped-down, solo session mode. (“It’s just me. There’s no dancers, unfortunately,” she quipped.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=770318649&mediaId=770323524\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Opening with an acoustic rendition of “The Man,” from her 2019 album \u003cem>Lover, \u003c/em>Swift delivered a critique of gender double-standards with a sense of humor (and a perfectly deployed hair toss), Leonardo DiCaprio name-check and all. Turning to the piano for \u003cem>Lover\u003c/em>‘s title track, with a smile, she explained the guitar-string scars of the song’s bridge. Picking up the guitar again for “Death by a Thousand Cuts,” Swift confronted a question that she says has haunted her career: What will you ever do if you get happy? Across the song’s run-on thoughts and relentless searching, Swift offered an answer: She’ll continue to excel at crafting superb story-songs.\u003c/p>\n\u003cp>Though most Tiny Desk concerts stop at three songs, we couldn’t turn down the chance to hear “All Too Well” from Swift’s 2012 album, \u003ca href=\"https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album\">\u003cem>Red\u003c/em>\u003c/a>. Routinely cited by critics and fans alike as a favorite, the beloved track has become the stuff of Swiftie legends, striking in its \u003ca href=\"https://www.npr.org/2019/08/26/754300347/show-and-tell-on-lover-taylor-swift-lets-listeners-in-on-her-own-terms\">specificity\u003c/a> (that scarf!) and relatable in a way that anyone who has loved and lost can understand.\u003c/p>\n\u003cp>That sense of connection is at the heart of it all. Some 800 Tiny Desk concerts since we published our very first back \u003ca href=\"https://www.npr.org/sections/allsongs/2015/02/12/385532517/all-songs-at-15-our-first-ever-tiny-desk-concert\">in April of 2008\u003c/a>, the aim remains the same: In the midst of meetings and conference calls, Tiny Desk concerts offer respite from the workday and an opportunity to see an artist reimagine their work in a strange setting. It’s always special, but on some days, it feels downright magical. Watching Taylor Swift perform – and then interact with coworkers and guests who have grown up with her – was simply enchanting.\u003c/p>\n\u003ch3>SET LIST\u003c/h3>\n\u003cul>\n\u003cli>“The Man”\u003c/li>\n\u003cli>“Lover”\u003c/li>\n\u003cli>“Death by a Thousand Cuts”\u003c/li>\n\u003cli>“All Too Well”\u003c/li>\n\u003c/ul>\n\u003ch3>MUSICIAN\u003c/h3>\n\u003cp>\u003cem>Taylor Swift: vocals, guitar, piano\u003c/em>\u003c/p>\n\u003ch3>CREDITS\u003c/h3>\n\u003cp>\u003cem>Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineers: Josh Rogosin, Natasha Branch; Videographers: Morgan Noelle Smith, Kara Frame, Maia Stern; Associate Producer: Bobby Carter; Production Assistants: Jack Corbett, Mito Habe-Evans; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann; Photo: Bob Boilen/NPR\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.rockhall.com/\" target=\"_blank\" rel=\"noopener\">The Rock & Roll Hall of Fame\u003c/a> announced its nominees for its newest class of inductees on Tuesday morning: 16 artists and groups ranging from the late Whitney Houston to German synth pioneers Kraftwerk to rap royalty in the form of the late Notorious B.I.G.\u003c/p>\n\u003cp>The 2020 nominees also include Dave Matthews Band, Pat Benatar, Depeche Mode, The Doobie Brothers, Judas Priest, MC5, Motörhead, Nine Inch Nails, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden, T. Rex and Thin Lizzy.\u003c/p>\n\u003cp>In order to be considered eligible, artists or bands must have released their first commercial recording at least 25 years ago. Of this year’s nominees, nine are first-timers on the ballot—some of them acts that came of age in the 1990s, and some legacy artists who have yet to be included on the Rock Hall’s roster.\u003c/p>\n\u003cp>The 2020 inductees will be announced in January; the next ceremony will take place in Cleveland on May 2.\u003c/p>\n\u003chr>\n\u003ch3>The Complete List Of 2020 Rock & Roll Hall of Fame Nominees\u003c/h3>\n\u003cul>\n\u003cli>Pat Benatar\u003c/li>\n\u003cli>Dave Matthews Band\u003c/li>\n\u003cli>Depeche Mode\u003c/li>\n\u003cli>The Doobie Brothers\u003c/li>\n\u003cli>Whitney Houston\u003c/li>\n\u003cli>Judas Priest\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Motörhead\u003c/li>\n\u003cli>Nine Inch Nails\u003c/li>\n\u003cli>The Notorious B.I.G.\u003c/li>\n\u003cli>Rufus featuring Chaka Khan\u003c/li>\n\u003cli>Todd Rundgren\u003c/li>\n\u003cli>Soundgarden\u003c/li>\n\u003cli>T.Rex\u003c/li>\n\u003cli>Thin Lizzy\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+Notorious+B.I.G.+Among+16+Nominees+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.rockhall.com/\" target=\"_blank\" rel=\"noopener\">The Rock & Roll Hall of Fame\u003c/a> announced its nominees for its newest class of inductees on Tuesday morning: 16 artists and groups ranging from the late Whitney Houston to German synth pioneers Kraftwerk to rap royalty in the form of the late Notorious B.I.G.\u003c/p>\n\u003cp>The 2020 nominees also include Dave Matthews Band, Pat Benatar, Depeche Mode, The Doobie Brothers, Judas Priest, MC5, Motörhead, Nine Inch Nails, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden, T. Rex and Thin Lizzy.\u003c/p>\n\u003cp>In order to be considered eligible, artists or bands must have released their first commercial recording at least 25 years ago. Of this year’s nominees, nine are first-timers on the ballot—some of them acts that came of age in the 1990s, and some legacy artists who have yet to be included on the Rock Hall’s roster.\u003c/p>\n\u003cp>The 2020 inductees will be announced in January; the next ceremony will take place in Cleveland on May 2.\u003c/p>\n\u003chr>\n\u003ch3>The Complete List Of 2020 Rock & Roll Hall of Fame Nominees\u003c/h3>\n\u003cul>\n\u003cli>Pat Benatar\u003c/li>\n\u003cli>Dave Matthews Band\u003c/li>\n\u003cli>Depeche Mode\u003c/li>\n\u003cli>The Doobie Brothers\u003c/li>\n\u003cli>Whitney Houston\u003c/li>\n\u003cli>Judas Priest\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Motörhead\u003c/li>\n\u003cli>Nine Inch Nails\u003c/li>\n\u003cli>The Notorious B.I.G.\u003c/li>\n\u003cli>Rufus featuring Chaka Khan\u003c/li>\n\u003cli>Todd Rundgren\u003c/li>\n\u003cli>Soundgarden\u003c/li>\n\u003cli>T.Rex\u003c/li>\n\u003cli>Thin Lizzy\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+Notorious+B.I.G.+Among+16+Nominees+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Pharrell Now Freely Admits That ‘Blurred Lines’ Was Chauvinistic | KQED",
"content": "\u003cp>Depending on your perspective, “Blurred Lines” was either the catchiest bop of Summer 2013, or a rage-inducing example of casual sexism and rape culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yyDUC1LUXSU\u003c/p>\n\u003cp>The lyrics of “Blurred Lines,” by Robin Thicke featuring Pharrell and T.I., were for many sexual assault survivors nothing less than triggering—thanks in particular to a refrain that included the words “\u003cem>I know you want it.\u003c/em>” The first sound Pharrell even made on the track was a cat-called “\u003cem>Hey girl, come here!\u003c/em>” done in a style familiar to every female human that has ever dealt with street harassment.\u003c/p>\n\u003cp>The accompanying video did not help matters. There were two versions released—one in which partially clothed models are objectified; another in which the same objectified women wear only flesh-colored panties. Both versions feature a scene in which Thicke’s penis size was described by, of all things, silver balloons.\u003c/p>\n\u003cp>Though an enormous hit at the time (“Blurred Lines” reached the top of the charts in countries around the globe, and is certified Diamond in the United States. having sold the equivalent of over 10 million copies), it has become somewhat of an albatross for everyone involved. Not just because of accusations of its misogyny, but also because in 2015, a jury found both Thicke and Pharrell guilty of copyright infringement due to the song’s resemblance to Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=Ayyy-03ITDg\" target=\"_blank\" rel=\"noopener noreferrer\">Got to Give it Up\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally though, something positive has come out of “Blurred Lines.” In a new interview with \u003ca href=\"https://www.gq.com/story/pharrell-new-masculinity-cover-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em>\u003c/a>, Pharrell talks openly about how the song changed his perspective on sexism, what he calls “chauvinist culture” and toxic masculinity. In it, he says:\u003c/p>\n\u003cblockquote>\u003cp>“Blurred Lines” opened me up. I didn’t get it at first. Because there were older white women who, when that song came on, they would behave in some of the most surprising ways ever. And I would be like, ‘Wow.’ They would have me blushing. So when there started to be an issue with it, lyrically, I was, like, ‘What are you talking about? There are women who really like the song and connect to the energy that just gets you up.’ And ‘\u003cem>I know you want it\u003c/em>‘—women sing those kinds of lyrics all the time. So it’s like, ‘What’s rapey about that?’\u003c/p>\n\u003cp>And then I realized that there are men who use that same language when taking advantage of a woman, and it doesn’t matter that that’s not my behavior. Or the way I think about things. It just matters how it affects women. And I was like, ‘Got it. I get it. Cool.’ My mind opened up to what was actually being said in the song and how it could make someone feel. Even though it wasn’t the majority, it didn’t matter. I cared what they were feeling too. I realized that we live in a chauvinist culture in our country. Hadn’t realized that. Didn’t realize that some of my songs catered to that. So that blew my mind… I haven’t been the same since.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>While it’s frustrating for many that Pharrell was unable to recognize all of this before “Blurred Lines” was released, seeing an artist humbly acknowledge problems with their own musical output is incredibly refreshing. It also can’t help but broaden the horizons of anyone still defending the lyrical content of “Blurred Lines.” Perhaps now Robin Thicke—who once called the track a “\u003ca href=\"https://www.nme.com/news/music/robin-thicke-0-22-1231261\" target=\"_blank\" rel=\"noopener noreferrer\">feminist movement within itself\u003c/a>”—will get the memo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It may have been eight years since Beyoncé first declared, \u003cem>“\u003ca href=\"https://www.youtube.com/watch?v=VBmMU_iwe6U\" target=\"_blank\" rel=\"noopener\">Who run the world? Girls!\u003c/a>“\u003c/em> but global statistics firmly demonstrate the opposite. In 2018, only 24 CEOs on \u003cem>Fortune\u003c/em>‘s annual \u003ca href=\"https://www.cnbc.com/2018/05/21/2018s-fortune-500-companies-have-just-24-female-ceos.html\" target=\"_blank\" rel=\"noopener\">500 list\u003c/a> were female. Though there are more female senators than ever before, \u003ca href=\"https://cawp.rutgers.edu/current-numbers\" target=\"_blank\" rel=\"noopener\">76% of Congress\u003c/a> is still male. Earlier this year, the first all-female \u003ca href=\"https://www.theatlantic.com/science/archive/2019/03/nasa-spacesuit-women-spacewalk/585805/\" target=\"_blank\" rel=\"noopener\">spacewalk was canceled\u003c/a> because the International Space Station didn’t have enough space suits for women.\u003c/p>\n\u003cp>The fourth annual WorldWideWomen Girls’ Festival aims to address these kinds of imbalances early with over 100 workshops, mentoring sessions and performances specifically designed to prep girls for the road to reach their goals, no matter what challenges might arise. Held on Nov. 9 at the Palace of Fine Arts, the festival includes STEM training, advice from female professionals and athletes, an interactive expo, a wide range of workshops, and even a “gentle” \u003cem>Shark Tank\u003c/em>-style “\u003ca href=\"https://worldwidewomengirlsfestival.org/girls-festival/program/17/girlpreneur-competition-2\" target=\"_blank\" rel=\"noopener\">Girlpreneur\u003c/a>” competition with a first place prize of $1,000.\u003c/p>\n\u003cp>The day-long event isn’t all business, though—there will also be a fashion show, a range of music and dance performances, a slam poetry contest, self-defense classes and an obstacle course set up by the \u003ca href=\"http://ufsw.org/\" target=\"_blank\" rel=\"noopener\">United Fire Service Women\u003c/a>. You can also get your retail fix with 35 pop-up shops, plus a marketplace of services and products from female-owned businesses.\u003c/p>\n\u003cp>Speaking at last year’s festival, Maureen Broderick, founder and CEO of \u003ca href=\"https://www.youtube.com/watch?v=IPbqBbRSWic\" target=\"_blank\" rel=\"noopener\">WorldWide Women\u003c/a>, summed up what she hoped attendees would get from the event. “I want them to take away connections,” she said. “I want them to take away possibilities and excitement and ‘Oh my gosh, I like technology,’ ‘I like science,’ ‘I want to be a filmmaker,’ ‘I want to be an entrepreneur.’ I want them to take away all the possibilities.”\u003c/p>\n\u003cp>You can see more of what went on at last year’s festival in the video below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IPbqBbRSWic\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It may have been eight years since Beyoncé first declared, \u003cem>“\u003ca href=\"https://www.youtube.com/watch?v=VBmMU_iwe6U\" target=\"_blank\" rel=\"noopener\">Who run the world? Girls!\u003c/a>“\u003c/em> but global statistics firmly demonstrate the opposite. In 2018, only 24 CEOs on \u003cem>Fortune\u003c/em>‘s annual \u003ca href=\"https://www.cnbc.com/2018/05/21/2018s-fortune-500-companies-have-just-24-female-ceos.html\" target=\"_blank\" rel=\"noopener\">500 list\u003c/a> were female. Though there are more female senators than ever before, \u003ca href=\"https://cawp.rutgers.edu/current-numbers\" target=\"_blank\" rel=\"noopener\">76% of Congress\u003c/a> is still male. Earlier this year, the first all-female \u003ca href=\"https://www.theatlantic.com/science/archive/2019/03/nasa-spacesuit-women-spacewalk/585805/\" target=\"_blank\" rel=\"noopener\">spacewalk was canceled\u003c/a> because the International Space Station didn’t have enough space suits for women.\u003c/p>\n\u003cp>The fourth annual WorldWideWomen Girls’ Festival aims to address these kinds of imbalances early with over 100 workshops, mentoring sessions and performances specifically designed to prep girls for the road to reach their goals, no matter what challenges might arise. Held on Nov. 9 at the Palace of Fine Arts, the festival includes STEM training, advice from female professionals and athletes, an interactive expo, a wide range of workshops, and even a “gentle” \u003cem>Shark Tank\u003c/em>-style “\u003ca href=\"https://worldwidewomengirlsfestival.org/girls-festival/program/17/girlpreneur-competition-2\" target=\"_blank\" rel=\"noopener\">Girlpreneur\u003c/a>” competition with a first place prize of $1,000.\u003c/p>\n\u003cp>The day-long event isn’t all business, though—there will also be a fashion show, a range of music and dance performances, a slam poetry contest, self-defense classes and an obstacle course set up by the \u003ca href=\"http://ufsw.org/\" target=\"_blank\" rel=\"noopener\">United Fire Service Women\u003c/a>. You can also get your retail fix with 35 pop-up shops, plus a marketplace of services and products from female-owned businesses.\u003c/p>\n\u003cp>Speaking at last year’s festival, Maureen Broderick, founder and CEO of \u003ca href=\"https://www.youtube.com/watch?v=IPbqBbRSWic\" target=\"_blank\" rel=\"noopener\">WorldWide Women\u003c/a>, summed up what she hoped attendees would get from the event. “I want them to take away connections,” she said. “I want them to take away possibilities and excitement and ‘Oh my gosh, I like technology,’ ‘I like science,’ ‘I want to be a filmmaker,’ ‘I want to be an entrepreneur.’ I want them to take away all the possibilities.”\u003c/p>\n\u003cp>You can see more of what went on at last year’s festival in the video below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"marketplace": {
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"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.",
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"masters-of-scale": {
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"mindshift": {
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"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>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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?",
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"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",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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