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"title": "For East Bay Rapper Shy’an G, a New First with 'The Reset'",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t wait for Shy’an G’s sister, Sharick LaMay, to read this. It’ll be the first time she learns what happened to her \u003cem>All Eyez on Me\u003c/em> CD.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>See, the story goes that when Shy’an G was about 9 years old, she stole the double-disc album from her big sis, and quickly brought it to school. While listening to Tupac’s raps on her Discman, Shy’an G sat under the play structure and penned her very first lyrics.\u003c/p>\n\u003cp>“She doesn’t know that, but uhh… \u003cem>now\u003c/em> she does,” Shy’an G told me a few weeks ago, anticipating this article while sitting on the couch at her cousin’s apartment. The MC, poet and producer laughed. “I hope it was worth it, because for me it was worth it—I hope she finds it worth it.”\u003c/p>\n\u003cp>Voluntarily or not, that instance was one of many acts of family support that helped mold Shy’an G into the up-and-coming East Bay artist she is today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking at Shy’an G’s accomplishments, there’s plenty reason to believe that sacrificing a Tupac CD was worthwhile: she’s gone from writing raps on elementary school playgrounds to attending classes at YR Media (formerly Youth Radio) and on to graduating from Cal State East Bay. \u003c/p>\n\u003cp>And today, Shy’an is set to drop her latest project, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_my-Euh0VZ1poYBA4EO0peqOL4tyXoE5h0\" rel=\"noopener\" target=\"_blank\">The Reset\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13849394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, in West Oakland.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13849394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore the \u003cem>The Reset\u003c/em> hit the internet, I got a chance to hear it. In fact, I needed to hear it. I’d been suffering from writer’s block, and I needed a reset. Her album served as a reminder to get the stress out, and to let creative vibes come alive.\u003c/p>\n\u003cp>And when you do that, family will be there to support.\u003c/p>\n\u003cp>The five-track project is succinct, to the point. It starts off with the track “Shot Clock,” which features the play-by-play call of a WNBA game of Alena Beard beating the shot clock in the finals. I asked Shy’an G why she included it.\u003c/p>\n\u003cp>“I wanted to incorporate a piece of a basketball game,” Shy’an G told me. “And I specifically chose a women’s basketball game because I have basketball background as well, I used to hoop. I still hoop every now and then. And also I just want to embrace women basketball players—they’re out here killing it… Brittney Boyd, Candice Parker, Brittney Griner , Lisa Leslie, Sheryl Swoops, Maya Moore, Diana Taurasi, the list goes on and on.”\u003c/p>\n\u003cfigure id=\"attachment_13849393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg\" alt=\"'The Reset' album cover.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13849393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Reset’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>As for the theme of “Shot Clock,” she told me that the intention was to simply show what she had been through in her life as of late—“you know, beating the buzzer.” It’s an idea she explored on her last project, \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/ijnam\" rel=\"noopener\" target=\"_blank\">I Just Need a Minute\u003c/a>\u003c/em>. “I was giving it my all while I was venting,” Shy’an G said. “So, now that I’m done, I’m ready to restart that clock. And I was able to beat that buzzer.”\u003c/p>\n\u003cp>When you listen to her new album, you hear references to why she’s coming anew.\u003c/p>\n\u003cp>On the track “From Now On,” she doesn’t hold back: “Look bruh, I lost a couple bands in a court case / Lost an apartment ‘cause I lived with scammers, acting fake / Got fired cold, and still denied my unemployment pay / Got my degree, but I’m in a warehouse, minimum wage.”\u003c/p>\n\u003cp>On the track “Go Off,” she takes gut passion and mixes it with a bass-tinged vocal tone, a chopped sample of what sounds like Nina Simone, and rapid hi-hats. It makes for a song that’ll have you questioning if she still listens to Tupac when she writes her raps.\u003c/p>\n\u003cp>And in the single “Top Down,” there’s more gloss than grit. It’s lyrical, all the same, but definitely something closer to what you might hear on the radio.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/691077864&color=%23513a22&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>What I found interesting about “Top Down” is the image she chose to use for the art. It’s \u003ca href=\"https://www.instagram.com/p/BsbzbdAgncy/\" rel=\"noopener\" target=\"_blank\">a Polaroid of her father\u003c/a>: scarf over the face and nose, glasses over the eyes, hat on but top down on the ride. I asked her, why?\u003c/p>\n\u003cp>“Because he always lives his fullest best life with no boundaries, no figurative ceilings over his head,” Shy’an G said as she sat on the edge of the couch. “He wants to be able to see and embrace every part and angle and aspect of his life, and that’s what my song is about. Live life with the top down. Don’t keep yourself cooped up. So he was a great symbol for the concept and for the artwork.”\u003c/p>\n\u003cp>(That mini-sermon earned a new follower of this “reset” mind state. She didn’t know it at the time, but she took me out of my 2019 writing slump—and saved me the hassle of having to steal my big sis’ music to find inspiration.) \u003c/p>\n\u003cp>Shy’an G drove it home with her next point. “I felt myself putting myself in boundaries, so much, to the point… it took for me to encounter some really tough situations, and I got sick of it. I was just like, ‘You know what? I’m going to live my life with the top down, taking myself out of the box. And I’m going to start by making this song right here.’ And I looked at my dad as a great example to go by.”\u003c/p>\n\u003cfigure id=\"attachment_13849391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13849391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1200x831.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond a metaphor for living your best life, that Polaroid on the cover of her single is an extension of the full artwork for \u003cem>The Reset\u003c/em>.\u003c/p>\n\u003cp>The album cover features eight photos, framed in the same Polaroid fashion. They’re all images of Shy’an G starting things: her first basketball game, first graduation, first time touching the mic. And of course, one from the day she was born.\u003c/p>\n\u003cp>“And my first profound memory of my relatives,” Shy’an G said. “They all kind of helped to shape in both the beginning of my journey and finding myself, and also finding my purpose and how I want to impact their community.”\u003c/p>\n\u003cp>I thought about how \u003cem>All Eyez on Me\u003c/em> was Tupac’s own “reset” album. How he’d recently been released from prison and getting back to work; pulling from the past and laying a new track for his future. \u003c/p>\n\u003cp>“I wanted that,” Shy’an G said of her art. “I wanted to tie that back to my process of resetting my life, and my approach to making thought-provoking lyrical creative music again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Shy’an G hosts an album release party on Friday, Jan. 25, at the Second Half Bar and Grill in Oakland at 8pm. \u003ca href=\"https://www.bandsintown.com/e/100738849\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t wait for Shy’an G’s sister, Sharick LaMay, to read this. It’ll be the first time she learns what happened to her \u003cem>All Eyez on Me\u003c/em> CD.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>See, the story goes that when Shy’an G was about 9 years old, she stole the double-disc album from her big sis, and quickly brought it to school. While listening to Tupac’s raps on her Discman, Shy’an G sat under the play structure and penned her very first lyrics.\u003c/p>\n\u003cp>“She doesn’t know that, but uhh… \u003cem>now\u003c/em> she does,” Shy’an G told me a few weeks ago, anticipating this article while sitting on the couch at her cousin’s apartment. The MC, poet and producer laughed. “I hope it was worth it, because for me it was worth it—I hope she finds it worth it.”\u003c/p>\n\u003cp>Voluntarily or not, that instance was one of many acts of family support that helped mold Shy’an G into the up-and-coming East Bay artist she is today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking at Shy’an G’s accomplishments, there’s plenty reason to believe that sacrificing a Tupac CD was worthwhile: she’s gone from writing raps on elementary school playgrounds to attending classes at YR Media (formerly Youth Radio) and on to graduating from Cal State East Bay. \u003c/p>\n\u003cp>And today, Shy’an is set to drop her latest project, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_my-Euh0VZ1poYBA4EO0peqOL4tyXoE5h0\" rel=\"noopener\" target=\"_blank\">The Reset\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13849394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, in West Oakland.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13849394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore the \u003cem>The Reset\u003c/em> hit the internet, I got a chance to hear it. In fact, I needed to hear it. I’d been suffering from writer’s block, and I needed a reset. Her album served as a reminder to get the stress out, and to let creative vibes come alive.\u003c/p>\n\u003cp>And when you do that, family will be there to support.\u003c/p>\n\u003cp>The five-track project is succinct, to the point. It starts off with the track “Shot Clock,” which features the play-by-play call of a WNBA game of Alena Beard beating the shot clock in the finals. I asked Shy’an G why she included it.\u003c/p>\n\u003cp>“I wanted to incorporate a piece of a basketball game,” Shy’an G told me. “And I specifically chose a women’s basketball game because I have basketball background as well, I used to hoop. I still hoop every now and then. And also I just want to embrace women basketball players—they’re out here killing it… Brittney Boyd, Candice Parker, Brittney Griner , Lisa Leslie, Sheryl Swoops, Maya Moore, Diana Taurasi, the list goes on and on.”\u003c/p>\n\u003cfigure id=\"attachment_13849393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg\" alt=\"'The Reset' album cover.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13849393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Reset’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>As for the theme of “Shot Clock,” she told me that the intention was to simply show what she had been through in her life as of late—“you know, beating the buzzer.” It’s an idea she explored on her last project, \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/ijnam\" rel=\"noopener\" target=\"_blank\">I Just Need a Minute\u003c/a>\u003c/em>. “I was giving it my all while I was venting,” Shy’an G said. “So, now that I’m done, I’m ready to restart that clock. And I was able to beat that buzzer.”\u003c/p>\n\u003cp>When you listen to her new album, you hear references to why she’s coming anew.\u003c/p>\n\u003cp>On the track “From Now On,” she doesn’t hold back: “Look bruh, I lost a couple bands in a court case / Lost an apartment ‘cause I lived with scammers, acting fake / Got fired cold, and still denied my unemployment pay / Got my degree, but I’m in a warehouse, minimum wage.”\u003c/p>\n\u003cp>On the track “Go Off,” she takes gut passion and mixes it with a bass-tinged vocal tone, a chopped sample of what sounds like Nina Simone, and rapid hi-hats. It makes for a song that’ll have you questioning if she still listens to Tupac when she writes her raps.\u003c/p>\n\u003cp>And in the single “Top Down,” there’s more gloss than grit. It’s lyrical, all the same, but definitely something closer to what you might hear on the radio.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/691077864&color=%23513a22&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>What I found interesting about “Top Down” is the image she chose to use for the art. It’s \u003ca href=\"https://www.instagram.com/p/BsbzbdAgncy/\" rel=\"noopener\" target=\"_blank\">a Polaroid of her father\u003c/a>: scarf over the face and nose, glasses over the eyes, hat on but top down on the ride. I asked her, why?\u003c/p>\n\u003cp>“Because he always lives his fullest best life with no boundaries, no figurative ceilings over his head,” Shy’an G said as she sat on the edge of the couch. “He wants to be able to see and embrace every part and angle and aspect of his life, and that’s what my song is about. Live life with the top down. Don’t keep yourself cooped up. So he was a great symbol for the concept and for the artwork.”\u003c/p>\n\u003cp>(That mini-sermon earned a new follower of this “reset” mind state. She didn’t know it at the time, but she took me out of my 2019 writing slump—and saved me the hassle of having to steal my big sis’ music to find inspiration.) \u003c/p>\n\u003cp>Shy’an G drove it home with her next point. “I felt myself putting myself in boundaries, so much, to the point… it took for me to encounter some really tough situations, and I got sick of it. I was just like, ‘You know what? I’m going to live my life with the top down, taking myself out of the box. And I’m going to start by making this song right here.’ And I looked at my dad as a great example to go by.”\u003c/p>\n\u003cfigure id=\"attachment_13849391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13849391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1200x831.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond a metaphor for living your best life, that Polaroid on the cover of her single is an extension of the full artwork for \u003cem>The Reset\u003c/em>.\u003c/p>\n\u003cp>The album cover features eight photos, framed in the same Polaroid fashion. They’re all images of Shy’an G starting things: her first basketball game, first graduation, first time touching the mic. And of course, one from the day she was born.\u003c/p>\n\u003cp>“And my first profound memory of my relatives,” Shy’an G said. “They all kind of helped to shape in both the beginning of my journey and finding myself, and also finding my purpose and how I want to impact their community.”\u003c/p>\n\u003cp>I thought about how \u003cem>All Eyez on Me\u003c/em> was Tupac’s own “reset” album. How he’d recently been released from prison and getting back to work; pulling from the past and laying a new track for his future. \u003c/p>\n\u003cp>“I wanted that,” Shy’an G said of her art. “I wanted to tie that back to my process of resetting my life, and my approach to making thought-provoking lyrical creative music again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Shy’an G hosts an album release party on Friday, Jan. 25, at the Second Half Bar and Grill in Oakland at 8pm. \u003ca href=\"https://www.bandsintown.com/e/100738849\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s an old saying in music journalism that writing about music is like dancing about architecture. Perhaps even harder to pull off is a symphonic composition about the evolution of the internet—which is what \u003ca href=\"http://djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> endeavors to do with \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">\u003cem>Quantopia\u003c/em>\u003c/a>, a new piece premiering at Yerba Buena Center for the Arts on Jan. 25.\u003c/p>\n\u003cp>“The basic premise is that we live in a data-driven society, and most of us use our phones, tablets, laptops, monitors as portals into the web,” says DJ Spooky, whose real name is Paul D. Miller. “Music is about patterns and so is the way we interact with the internet. We have patters in everyday life; we have patterns of data that algorithmically drive our tastes and styles. So I thought it would be cool, instead of doing a dry analysis, to do a lyrical approach to pattern recognition.”\u003c/p>\n\u003cp>\u003cem>Quantopia\u003c/em>, an incredibly eclectic work, combines elements as disparate as dial-up modem noises (remember those?), electronic beats and chamber music. Spooky collaborated on the hour-long work with the Internet Archive and data artist Greg Niemeyer, who created visual projections for the performance. String ensemble Classical Revolution and the San Francisco Girls Chorus will join DJ Spooky on stage at YBCA.\u003c/p>\n\u003cp>At the heart of \u003cem>Quantopia\u003c/em> is the idea that the internet is a democratic place for sharing information. \u003ca href=\"http://www.un.org/en/universal-declaration-human-rights/\" target=\"_blank\" rel=\"noopener\">The Universal Declaration of Human Rights\u003c/a>, which posits that everyone has the right to seek and impart information, was a major source of inspiration for DJ Spooky.\u003c/p>\n\u003cp>In our conversation, DJ Spooky mentions how the first message sent over the internet was from UCLA to Stanford, and how its academic background informs its utopian spirit as a place to connect and imagine new worlds. “It was made as this open source, educational space,” he says. “Had it been made at some corporate lab, you probably would’ve had a different internet as we know it.”\u003c/p>\n\u003cp>\u003cem>Quantopia premieres Jan. 25 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/S7ZVQQOdAYg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an old saying in music journalism that writing about music is like dancing about architecture. Perhaps even harder to pull off is a symphonic composition about the evolution of the internet—which is what \u003ca href=\"http://djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> endeavors to do with \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">\u003cem>Quantopia\u003c/em>\u003c/a>, a new piece premiering at Yerba Buena Center for the Arts on Jan. 25.\u003c/p>\n\u003cp>“The basic premise is that we live in a data-driven society, and most of us use our phones, tablets, laptops, monitors as portals into the web,” says DJ Spooky, whose real name is Paul D. Miller. “Music is about patterns and so is the way we interact with the internet. We have patters in everyday life; we have patterns of data that algorithmically drive our tastes and styles. So I thought it would be cool, instead of doing a dry analysis, to do a lyrical approach to pattern recognition.”\u003c/p>\n\u003cp>\u003cem>Quantopia\u003c/em>, an incredibly eclectic work, combines elements as disparate as dial-up modem noises (remember those?), electronic beats and chamber music. Spooky collaborated on the hour-long work with the Internet Archive and data artist Greg Niemeyer, who created visual projections for the performance. String ensemble Classical Revolution and the San Francisco Girls Chorus will join DJ Spooky on stage at YBCA.\u003c/p>\n\u003cp>At the heart of \u003cem>Quantopia\u003c/em> is the idea that the internet is a democratic place for sharing information. \u003ca href=\"http://www.un.org/en/universal-declaration-human-rights/\" target=\"_blank\" rel=\"noopener\">The Universal Declaration of Human Rights\u003c/a>, which posits that everyone has the right to seek and impart information, was a major source of inspiration for DJ Spooky.\u003c/p>\n\u003cp>In our conversation, DJ Spooky mentions how the first message sent over the internet was from UCLA to Stanford, and how its academic background informs its utopian spirit as a place to connect and imagine new worlds. “It was made as this open source, educational space,” he says. “Had it been made at some corporate lab, you probably would’ve had a different internet as we know it.”\u003c/p>\n\u003cp>\u003cem>Quantopia premieres Jan. 25 at Yerba Buena Center for the Arts. Details \u003ca href=\"https://ybca.org/whats-on/quantopia\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\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/S7ZVQQOdAYg'\n title='//www.youtube.com/embed/S7ZVQQOdAYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Patti Smith had just finished singing Bob Dylan’s “A Hard Rain’s a-Gonna Fall” at the Fillmore last week when she \u003ca href=\"https://youtu.be/wfXIujf4ddc?t=1h9m15s\" rel=\"noopener\" target=\"_blank\">turned the mic over\u003c/a> to her guitarist, Lenny Kaye. \u003c/p>\n\u003cp>“You know, for an old hippie like myself, playing the Fillmore is just about the greatest experience,” Kaye beamed. “We’re standing where \u003cem>John Cipollina\u003c/em> used to stand!”\u003c/p>\n\u003cp>I laughed. John Cipollina isn’t a household name like Carlos Santana or Jerry Garcia, both far more obvious choices to shout-out at the Fillmore. Cipollina was a guitarist’s guitarist, you might say, who etched himself into history with the band \u003ca href=\"https://www.youtube.com/watch?v=olnbwZxjcbI\" rel=\"noopener\" target=\"_blank\">Quicksilver Messenger Service\u003c/a>, and eventually joined the ranks of the Bay Area guitar hall of fame along with Jorma Kaukonen, East Bay Ray, Billie Joe Armstrong, Kirk Hammett and dozens of others. \u003c/p>\n\u003cp>But then I also wondered: could I name a Bay Area guitar hero from the last 10 years? Sure, I’d seen plenty more-then-competent guitarists in the past decade. But who among them attracted hysteria, or a devoted, hungry following? Was the electric guitar even an agent for such a thing anymore on a large scale?\u003c/p>\n\u003cp>Onstage, Lenny Kaye counted off the Avengers song “\u003ca href=\"https://www.youtube.com/watch?v=Nho42QE2jKE\" rel=\"noopener\" target=\"_blank\">The Amerikan in Me\u003c/a>,” dedicating it to the band’s James Wilsey, the Bay Area guitarist who \u003ca href=\"https://guitar.com/news/music-news/james-calvin-wilsey-guitarist-on-wicked-game-has-reportedly-passed-away/\" rel=\"noopener\" target=\"_blank\">died\u003c/a> last year. It was a sweet tribute. It was also from 1979. Forty years ago. The question remained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where are the Bay Area’s new guitar heroes?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-13849223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Ian S. Port knows a thing or two about guitar heroes. \u003cem>The Birth of Loud: Leo Fender, Les Paul, and the Guitar-Pioneering Rivalry That Shaped Rock ‘n’ Roll\u003c/em> (Scribner; $28) is his \u003ca href=\"https://www.simonandschuster.com/books/The-Birth-of-Loud/Ian-S-Port/9781501141652\" rel=\"noopener\" target=\"_blank\">352-page foray\u003c/a> into the genesis and evolution of an instrument he’s been in love with since age 10, when he brought home a Peavy Predator, his first electric guitar.\u003c/p>\n\u003cp>The heroes Port writes about, though, are the two men who developed the solid-body electric guitar and helped turn it into a totem of cool: Leo Fender and Les Paul. Reading their story of the origins of the electric guitar is like learning how the fountain pen was invented, or the telephone: an item of communication impossible to separate from its global reverberations.\u003c/p>\n\u003cfigure id=\"attachment_13849235\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BirthofLoud.jpg\" alt=\"'The Birth of Loud.'\" width=\"398\" height=\"600\" class=\"size-full wp-image-13849235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BirthofLoud.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BirthofLoud-160x241.jpg 160w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">‘The Birth of Loud.’\u003c/figcaption>\u003c/figure>\n\u003cp>And my, how those reverberations spread. In Port’s lyrical, evocative prose, \u003cem>The Birth of Loud\u003c/em> includes vivid scenes of Muddy Waters inventing Chicago blues, the Rolling Stones’ sex-drenched appearance on \u003cem>The T.A.M.I. Show\u003c/em>, Buddy Holly’s TV debut with Ed Sullivan, Bob Dylan going electric at Newport and more. Along the way, Fender and Paul hone their inventions to perfection, vie for endorsements from the hottest players, and engage in that age-old driver of American innovation: cutthroat competition.\u003c/p>\n\u003cp>When I talk to Port, though, and ask what was the biggest surprise he encountered in his research, his answer is telling. “Probably how far back the development of the instrument began, before rock ‘n’ roll,” he says. “How much it came out of the old world. Les and Leo didn’t even \u003cem>like\u003c/em> rock ‘n’ roll.”\u003c/p>\n\u003cp>It’s true. Les Paul played a \u003ca href=\"https://www.youtube.com/watch?v=xR5TJ_tginI\" rel=\"noopener\" target=\"_blank\">jazzy brand of instrumental pop\u003c/a> and backed Bing Crosby and the Andrews Sisters. Fender liked country music, and \u003cem>hated\u003c/em> distortion—his whole purpose for building an electric guitar was to get a cleaner tone. “So to have these longhairs come,” says Port, “and turn his precious amps up super loud to distort on purpose was completely foreign, and difficult for him.”\u003c/p>\n\u003cp>In other words, they wrestled with the generation gap. And now, in 2019, there’s a different generation gap, manifest in a sort of nervousness among older guitar enthusiasts.\u003c/p>\n\u003cp>Shortly after Port started working on \u003cem>The Birth of Loud\u003c/em>, the \u003cem>Washington Post\u003c/em> bluntly declared “\u003ca href=\"https://www.washingtonpost.com/graphics/2017/lifestyle/the-slow-secret-death-of-the-electric-guitar/\" rel=\"noopener\" target=\"_blank\">The Death of the Electric Guitar\u003c/a>,” adding to a parade of equally ominous articles. Some of the case evidence does \u003cem>seem\u003c/em> dire: Sales are down, Gibson Guitars went through bankruptcy last year, and rock \u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" rel=\"noopener\" target=\"_blank\">recently lost its decades-long dominance\u003c/a> on the sales charts to rap.\u003c/p>\n\u003cfigure id=\"attachment_13849236\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IanPort.jpg\" alt=\"Ian Port.\" width=\"400\" height=\"600\" class=\"size-full wp-image-13849236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IanPort.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IanPort-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ian Port. \u003ccite>(Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Port notices guitars virtually everywhere in chart-topping acts like Travis Scott, Beyoncé, Maroon 5, and Post Malone. Not to mention that guitars are making \u003ca href=\"https://www.rollingstone.com/music/music-news/guitars-are-getting-more-popular-so-why-do-we-think-theyre-dying-630446/\" rel=\"noopener\" target=\"_blank\">especially big waves in the hands of women or people of color\u003c/a>, brilliant players like like St. Vincent, Courtney Barnett, and Dev Hynes. They’re just not as elevated as, say, Joe Satriani. \u003c/p>\n\u003cp>“I see a particular conservatism in the classic-rock world, and especially the electric guitar world, an unwillingness to recognize the instrument when it appears in a context that’s different from how it had appeared,” he says. “There’s this mentality that if the guitar isn’t being used the way Slash used it, that it doesn’t count. And that’s totally ridiculous.”\u003c/p>\n\u003cp>No doubt, the icon of the shirtless dude reeling off a blazing guitar solo to a gaggle of worshipping fans is a relic in 2019. (“And hopefully, so is the sexism and misogyny that went behind all of that too,” Port says.) But maybe electric guitar innovation—in technical aspects as well as playing—likewise reached its apex long ago, too.\u003c/p>\n\u003cp>Take \u003cem>The Birth of Loud\u003c/em>‘s final chapter, which ends with Jimi Hendrix’s \u003ca href=\"https://www.youtube.com/watch?v=MwIymq0iTsw\" rel=\"noopener\" target=\"_blank\">searing rendition\u003c/a> of “The Star-Spangled Banner” at Woodstock, where “a simple technology, radio equipment screwed into a wood-shop project, had become a tool for the most personal and most public yearnings. Nothing could be at once louder, more vivid, more chaotic, more human,” Port writes.\u003c/p>\n\u003cp>The book’s epilogue then fast-forwards through the next four decades in 20 pages. It’s hard to top Hendrix.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-13849223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As the former music editor of \u003cem>SF Weekly\u003c/em>, Port knows how acute the electric-guitar crisis is in San Francisco. Practice spaces for loud rock bands \u003ca href=\"https://www.kqed.org/arts/13839604/moss-street-rehearsal-studio-tenants-evicted-by-luxury-realtor\" rel=\"noopener\" target=\"_blank\">are disappearing\u003c/a>, and garages with patient neighbors are rarer than ever. No one doubts gentrification’s effect on San Francisco’s music scene—Port himself has \u003ca href=\"https://longreads.com/2016/02/01/how-gentrification-affects-musicians/\" rel=\"noopener\" target=\"_blank\">written extensively\u003c/a> about it—but lesser acknowledged is its effect on the music itself. \u003c/p>\n\u003cp>Even as far as eight years ago, Port was already seeing so-called bedroom music take hold in San Francisco, “more softer-based or computer-based styles of musicmaking,” he explains. “Things that did not require the volume of a drum set and a loud guitar amplifier or three. You really need those post-industrial spaces for loud music to come together, and there really is no way for rock to be quiet; it’s antithetical to the whole idea.”\u003c/p>\n\u003cp>The switch to this does not necessarily preclude the growth of the electric guitar, Port maintains, since plugging a guitar directly into a computer or soundboard are increasingly common in the age of home recording software. But when I posit to him my original question, of the Bay Area and who its new guitar heroes are from the past 10 years, he, too, comes up short. \u003c/p>\n\u003cp>Later that night, though, I run into a neighbor of mine, who has a 7-year-old kid. Out of nowhere, he starts air-guitaring, and making the hopeful “Bunhhhhh-Buhhhh-Bunhhhhh” sounds so familiar to aspiring children bursting at the seams with a surplus of energy who’ve witnessed the power of rock ‘n’ roll. \u003c/p>\n\u003cp>\u003cem>Man\u003c/em>, I think to myself. \u003cem>When that kid gets his first Peavy Predator, watch out, world\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ian S. Port reads from and discusses ‘The Birth of Loud’ on Wednesday, Jan. 23, at Booksmith in San Francisco. 7:30pm. \u003ca href=\"https://www.booksmith.com/event/booksmith-ian-s-port-birth-loud-leo-fender-les-paul-and-guitar-pioneering-rivalry-shaped-rock\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. Listen to his interview on KQED’s Forum on Wednesday, Jan. 23 at 9:30am, or archived online \u003ca href=\"https://www.kqed.org/forum/2010101869296/the-rivalry-that-gave-rise-to-the-electric-guitar-and-a-revolutionary-sound\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patti Smith had just finished singing Bob Dylan’s “A Hard Rain’s a-Gonna Fall” at the Fillmore last week when she \u003ca href=\"https://youtu.be/wfXIujf4ddc?t=1h9m15s\" rel=\"noopener\" target=\"_blank\">turned the mic over\u003c/a> to her guitarist, Lenny Kaye. \u003c/p>\n\u003cp>“You know, for an old hippie like myself, playing the Fillmore is just about the greatest experience,” Kaye beamed. “We’re standing where \u003cem>John Cipollina\u003c/em> used to stand!”\u003c/p>\n\u003cp>I laughed. John Cipollina isn’t a household name like Carlos Santana or Jerry Garcia, both far more obvious choices to shout-out at the Fillmore. Cipollina was a guitarist’s guitarist, you might say, who etched himself into history with the band \u003ca href=\"https://www.youtube.com/watch?v=olnbwZxjcbI\" rel=\"noopener\" target=\"_blank\">Quicksilver Messenger Service\u003c/a>, and eventually joined the ranks of the Bay Area guitar hall of fame along with Jorma Kaukonen, East Bay Ray, Billie Joe Armstrong, Kirk Hammett and dozens of others. \u003c/p>\n\u003cp>But then I also wondered: could I name a Bay Area guitar hero from the last 10 years? Sure, I’d seen plenty more-then-competent guitarists in the past decade. But who among them attracted hysteria, or a devoted, hungry following? Was the electric guitar even an agent for such a thing anymore on a large scale?\u003c/p>\n\u003cp>Onstage, Lenny Kaye counted off the Avengers song “\u003ca href=\"https://www.youtube.com/watch?v=Nho42QE2jKE\" rel=\"noopener\" target=\"_blank\">The Amerikan in Me\u003c/a>,” dedicating it to the band’s James Wilsey, the Bay Area guitarist who \u003ca href=\"https://guitar.com/news/music-news/james-calvin-wilsey-guitarist-on-wicked-game-has-reportedly-passed-away/\" rel=\"noopener\" target=\"_blank\">died\u003c/a> last year. It was a sweet tribute. It was also from 1979. Forty years ago. The question remained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where are the Bay Area’s new guitar heroes?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-13849223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Ian S. Port knows a thing or two about guitar heroes. \u003cem>The Birth of Loud: Leo Fender, Les Paul, and the Guitar-Pioneering Rivalry That Shaped Rock ‘n’ Roll\u003c/em> (Scribner; $28) is his \u003ca href=\"https://www.simonandschuster.com/books/The-Birth-of-Loud/Ian-S-Port/9781501141652\" rel=\"noopener\" target=\"_blank\">352-page foray\u003c/a> into the genesis and evolution of an instrument he’s been in love with since age 10, when he brought home a Peavy Predator, his first electric guitar.\u003c/p>\n\u003cp>The heroes Port writes about, though, are the two men who developed the solid-body electric guitar and helped turn it into a totem of cool: Leo Fender and Les Paul. Reading their story of the origins of the electric guitar is like learning how the fountain pen was invented, or the telephone: an item of communication impossible to separate from its global reverberations.\u003c/p>\n\u003cfigure id=\"attachment_13849235\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BirthofLoud.jpg\" alt=\"'The Birth of Loud.'\" width=\"398\" height=\"600\" class=\"size-full wp-image-13849235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BirthofLoud.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BirthofLoud-160x241.jpg 160w\" sizes=\"(max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">‘The Birth of Loud.’\u003c/figcaption>\u003c/figure>\n\u003cp>And my, how those reverberations spread. In Port’s lyrical, evocative prose, \u003cem>The Birth of Loud\u003c/em> includes vivid scenes of Muddy Waters inventing Chicago blues, the Rolling Stones’ sex-drenched appearance on \u003cem>The T.A.M.I. Show\u003c/em>, Buddy Holly’s TV debut with Ed Sullivan, Bob Dylan going electric at Newport and more. Along the way, Fender and Paul hone their inventions to perfection, vie for endorsements from the hottest players, and engage in that age-old driver of American innovation: cutthroat competition.\u003c/p>\n\u003cp>When I talk to Port, though, and ask what was the biggest surprise he encountered in his research, his answer is telling. “Probably how far back the development of the instrument began, before rock ‘n’ roll,” he says. “How much it came out of the old world. Les and Leo didn’t even \u003cem>like\u003c/em> rock ‘n’ roll.”\u003c/p>\n\u003cp>It’s true. Les Paul played a \u003ca href=\"https://www.youtube.com/watch?v=xR5TJ_tginI\" rel=\"noopener\" target=\"_blank\">jazzy brand of instrumental pop\u003c/a> and backed Bing Crosby and the Andrews Sisters. Fender liked country music, and \u003cem>hated\u003c/em> distortion—his whole purpose for building an electric guitar was to get a cleaner tone. “So to have these longhairs come,” says Port, “and turn his precious amps up super loud to distort on purpose was completely foreign, and difficult for him.”\u003c/p>\n\u003cp>In other words, they wrestled with the generation gap. And now, in 2019, there’s a different generation gap, manifest in a sort of nervousness among older guitar enthusiasts.\u003c/p>\n\u003cp>Shortly after Port started working on \u003cem>The Birth of Loud\u003c/em>, the \u003cem>Washington Post\u003c/em> bluntly declared “\u003ca href=\"https://www.washingtonpost.com/graphics/2017/lifestyle/the-slow-secret-death-of-the-electric-guitar/\" rel=\"noopener\" target=\"_blank\">The Death of the Electric Guitar\u003c/a>,” adding to a parade of equally ominous articles. Some of the case evidence does \u003cem>seem\u003c/em> dire: Sales are down, Gibson Guitars went through bankruptcy last year, and rock \u003ca href=\"https://www.usatoday.com/story/life/music/2018/01/03/rap-overtakes-rock-most-popular-genre-among-music-fans-heres-why/990873001/\" rel=\"noopener\" target=\"_blank\">recently lost its decades-long dominance\u003c/a> on the sales charts to rap.\u003c/p>\n\u003cfigure id=\"attachment_13849236\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/IanPort.jpg\" alt=\"Ian Port.\" width=\"400\" height=\"600\" class=\"size-full wp-image-13849236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IanPort.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IanPort-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ian Port. \u003ccite>(Scribner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Port notices guitars virtually everywhere in chart-topping acts like Travis Scott, Beyoncé, Maroon 5, and Post Malone. Not to mention that guitars are making \u003ca href=\"https://www.rollingstone.com/music/music-news/guitars-are-getting-more-popular-so-why-do-we-think-theyre-dying-630446/\" rel=\"noopener\" target=\"_blank\">especially big waves in the hands of women or people of color\u003c/a>, brilliant players like like St. Vincent, Courtney Barnett, and Dev Hynes. They’re just not as elevated as, say, Joe Satriani. \u003c/p>\n\u003cp>“I see a particular conservatism in the classic-rock world, and especially the electric guitar world, an unwillingness to recognize the instrument when it appears in a context that’s different from how it had appeared,” he says. “There’s this mentality that if the guitar isn’t being used the way Slash used it, that it doesn’t count. And that’s totally ridiculous.”\u003c/p>\n\u003cp>No doubt, the icon of the shirtless dude reeling off a blazing guitar solo to a gaggle of worshipping fans is a relic in 2019. (“And hopefully, so is the sexism and misogyny that went behind all of that too,” Port says.) But maybe electric guitar innovation—in technical aspects as well as playing—likewise reached its apex long ago, too.\u003c/p>\n\u003cp>Take \u003cem>The Birth of Loud\u003c/em>‘s final chapter, which ends with Jimi Hendrix’s \u003ca href=\"https://www.youtube.com/watch?v=MwIymq0iTsw\" rel=\"noopener\" target=\"_blank\">searing rendition\u003c/a> of “The Star-Spangled Banner” at Woodstock, where “a simple technology, radio equipment screwed into a wood-shop project, had become a tool for the most personal and most public yearnings. Nothing could be at once louder, more vivid, more chaotic, more human,” Port writes.\u003c/p>\n\u003cp>The book’s epilogue then fast-forwards through the next four decades in 20 pages. It’s hard to top Hendrix.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Guitar.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-13849223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Guitar.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As the former music editor of \u003cem>SF Weekly\u003c/em>, Port knows how acute the electric-guitar crisis is in San Francisco. Practice spaces for loud rock bands \u003ca href=\"https://www.kqed.org/arts/13839604/moss-street-rehearsal-studio-tenants-evicted-by-luxury-realtor\" rel=\"noopener\" target=\"_blank\">are disappearing\u003c/a>, and garages with patient neighbors are rarer than ever. No one doubts gentrification’s effect on San Francisco’s music scene—Port himself has \u003ca href=\"https://longreads.com/2016/02/01/how-gentrification-affects-musicians/\" rel=\"noopener\" target=\"_blank\">written extensively\u003c/a> about it—but lesser acknowledged is its effect on the music itself. \u003c/p>\n\u003cp>Even as far as eight years ago, Port was already seeing so-called bedroom music take hold in San Francisco, “more softer-based or computer-based styles of musicmaking,” he explains. “Things that did not require the volume of a drum set and a loud guitar amplifier or three. You really need those post-industrial spaces for loud music to come together, and there really is no way for rock to be quiet; it’s antithetical to the whole idea.”\u003c/p>\n\u003cp>The switch to this does not necessarily preclude the growth of the electric guitar, Port maintains, since plugging a guitar directly into a computer or soundboard are increasingly common in the age of home recording software. But when I posit to him my original question, of the Bay Area and who its new guitar heroes are from the past 10 years, he, too, comes up short. \u003c/p>\n\u003cp>Later that night, though, I run into a neighbor of mine, who has a 7-year-old kid. Out of nowhere, he starts air-guitaring, and making the hopeful “Bunhhhhh-Buhhhh-Bunhhhhh” sounds so familiar to aspiring children bursting at the seams with a surplus of energy who’ve witnessed the power of rock ‘n’ roll. \u003c/p>\n\u003cp>\u003cem>Man\u003c/em>, I think to myself. \u003cem>When that kid gets his first Peavy Predator, watch out, world\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ian S. Port reads from and discusses ‘The Birth of Loud’ on Wednesday, Jan. 23, at Booksmith in San Francisco. 7:30pm. \u003ca href=\"https://www.booksmith.com/event/booksmith-ian-s-port-birth-loud-leo-fender-les-paul-and-guitar-pioneering-rivalry-shaped-rock\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. Listen to his interview on KQED’s Forum on Wednesday, Jan. 23 at 9:30am, or archived online \u003ca href=\"https://www.kqed.org/forum/2010101869296/the-rivalry-that-gave-rise-to-the-electric-guitar-and-a-revolutionary-sound\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Psychic Eye Records' Debut Compilation Raises Money for Trans Prisoners",
"headTitle": "Psychic Eye Records’ Debut Compilation Raises Money for Trans Prisoners | KQED",
"content": "\u003cfigure id=\"attachment_13849201\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg\" alt=\"'Sacred Spells' album art.\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-1020x1019.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">‘Sacred Spells’ album art. \u003ccite>(Psychic Eye Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a musician and founder of the new label \u003ca href=\"https://psychiceye.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Psychic Eye Records\u003c/a>, Akiko Sampson has found power in supporting social justice causes close to their heart. In 2018, the artist (who is gender non-binary and uses “they/them” pronouns) played benefit shows for Red Light Legal, a legal advocacy organization for sex workers, and the Florence Immigrant and Refugee Rights Project.\u003c/p>\n\u003cp>For today’s \u003ca href=\"https://transprisoners.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Trans Prisoner Day of Action and Solidarity\u003c/a>, Sampson decided to use Psychic Eye Records’ debut release to raise money for \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for currently and formerly incarcerated trans and gender non-conforming people.\u003c/p>\n\u003cp>Released Jan. 22, \u003cem>Sacred Spells \u003c/em>is a 20-song post-punk, darkwave and experimental compilation with a wide variety of bands—local and international—that include trans, non-binary and queer musicians and their allies. With 100% of the album’s proceeds going to TGIJP, Sampson hopes to establish Psychic Eye Records’ priorities from the start: to serve as an example of the change they wish to see in the world, and to champion some of the freshest bands on the dark side of the musical spectrum—from the noisy, industrial grind of Oakland’s Malocculsion to the \u003cem>new\u003c/em>-new-wave inflections of Vancouver’s Koban.\u003c/p>\n\u003cfigure id=\"attachment_13849203\" class=\"wp-caption alignleft\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg\" alt=\"Experimental band V.E.X. is featured on Psychic Eye Records' new benefit compilation, 'Sacred Spells.'\" width=\"623\" height=\"763\" class=\"size-full wp-image-13849203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green-160x196.jpg 160w\" sizes=\"(max-width: 623px) 100vw, 623px\" />\u003cfigcaption class=\"wp-caption-text\">Experimental band V.E.X. is featured on Psychic Eye Records’ new benefit compilation, ‘Sacred Spells.’ \u003ccite>(Julie Pavlowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent interview, Sampson—who plays bass in post-punk trio Ötzi and works as a freelance video editor and \u003ca href=\"https://www.youtube.com/watch?v=4yzoEczqcOA\" target=\"_blank\" rel=\"noopener\">director\u003c/a> by day—clarified that they’d like Oakland’s reinvigorated goth and dark music scene to encompass more inclusive values.\u003c/p>\n\u003cp>“To me it’s an important time to ask who the scene is going to include,” Sampson says. “What are the priorities of us as a community? … Who we are and what it is we’re here for?”\u003c/p>\n\u003cp>The Trans Prisoner Day of Action and Solidarity is a good place to start. First conceptualized by anarchist-activist and trans prisoner \u003ca href=\"https://supportmariusmason.org/\" target=\"_blank\" rel=\"noopener\">Marius Mason\u003c/a>, it raises awareness of the abuses trans people face in jails, prisons and immigration detention centers, including violence and sexual assault from guards and fellow inmates, solitary confinement and denial of medical treatment.\u003c/p>\n\u003cp>Trans inmates’ struggles are rarely acknowledged in the mainstream media, let alone by the criminal justice system. In 2018, the U.S. Federal Bureau of Prisons \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/12/610692321/the-guidelines-for-protection-of-transgender-prisoners-just-got-rewritten\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> Obama-era protections for trans prisoners, placing them at a higher risk of abuse while in custody.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4127978411/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>TGIJP has been serving this population on the front lines for fifteen years, providing vital support networks, connecting current and former inmates to resources and organizing grassroots actions.\u003c/p>\n\u003cp>“To me they’re a really important and influential organization,” Sampson says. “There’s a lot of fundraising that I see for the \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://www.hrc.org/\" target=\"_blank\" rel=\"noopener\">Human Rights Campaign\u003c/a>, and that sort of thing, but there’s still a group of people not being represented there. I thought that since this is a release coming from the subculture, we don’t have to give our money to organizations already being supported by the mainstream. Incarcerated trans women, to me, sounds like a really isolated, dangerous situation to be in, and I wanted to support them as people who are the most vulnerable.” \u003c/p>\n\u003cfigure id=\"attachment_13849205\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg\" alt=\"The Bedroom Witch's experimental pop draws from social justice themes and the occult.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Bedroom Witch’s experimental pop draws from social justice themes and the occult. \u003ccite>(Kristin Cofer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the best compilations, listening to \u003cem>Sacred Spells\u003c/em> is an exercise in discovery, and there’s something for lovers of alternative and experimental music of all stripes. Some standout tracks include the aforementioned Malocculsion with the song “Wormfood”;”Tomorrow Never Comes,” an intricately-layered requiem by V.E.X.; the synth-driven moan of “Blood Debts” by Zanna Nera; “Ana Venus,” an urgent electronic foray by Grenoble’s Lovataraxx; and the hauntingly operatic “Scarecrow Jim Crow I’m a Demon Coming at You” by performance artist and musician M. Lamar, who happens to be the sibling of trans actress and activist Laverne Cox of \u003cem>Orange is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Sampson mostly focused on musical output when selecting artists for the project, they wanted to make sure that trans musicians occupied a prominent place on the slate. V.E.X., Aesthetic Barrier and The Bedroom Witch all include trans and non-binary musicians, and Sampson’s own solo side project—Yama Uba—is also featured with “Angel,” rounding out the selection with soaring vocals and a ruthless, insistent drum track.\u003c/p>\n\u003cp>Sepehr Mashiahof—who performs as The Bedroom Witch—embodies the multiple themes within \u003cem>Sacred Spells\u003c/em>: she’s an Iranian-American trans woman and self-identified witch, and her work courses with social justice and occult themes. Her track from \u003cem>Sacred Spells\u003c/em>, “This House is No Longer,” is a chilling reckoning, layered with melodic bells, squiggles of synths and poetic lyrics. In an email, she praised Sampson’s efforts to use creativity to help trans people facing violence and discrimination.\u003c/p>\n\u003cp>“For those who are watching this continued targeting of trans and non-binary people (especially against Black trans women) unfold and are looking for ways to help seek justice for the community,” she writes, “Supplementing the efforts of TGI Justice Project and other similar organizations directly is an accessible place to start.”\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"excerpt": "Proceeds from 'Sacred Spells' go to the Transgender, Gender-Variant and Intersex Justice Project, a nonprofit advocating for trans people in prisons.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13849201\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg\" alt=\"'Sacred Spells' album art.\" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-1020x1019.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/sacred-spells-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">‘Sacred Spells’ album art. \u003ccite>(Psychic Eye Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a musician and founder of the new label \u003ca href=\"https://psychiceye.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Psychic Eye Records\u003c/a>, Akiko Sampson has found power in supporting social justice causes close to their heart. In 2018, the artist (who is gender non-binary and uses “they/them” pronouns) played benefit shows for Red Light Legal, a legal advocacy organization for sex workers, and the Florence Immigrant and Refugee Rights Project.\u003c/p>\n\u003cp>For today’s \u003ca href=\"https://transprisoners.wordpress.com/about/\" target=\"_blank\" rel=\"noopener\">Trans Prisoner Day of Action and Solidarity\u003c/a>, Sampson decided to use Psychic Eye Records’ debut release to raise money for \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> (TGIJP), a San Francisco nonprofit that advocates for currently and formerly incarcerated trans and gender non-conforming people.\u003c/p>\n\u003cp>Released Jan. 22, \u003cem>Sacred Spells \u003c/em>is a 20-song post-punk, darkwave and experimental compilation with a wide variety of bands—local and international—that include trans, non-binary and queer musicians and their allies. With 100% of the album’s proceeds going to TGIJP, Sampson hopes to establish Psychic Eye Records’ priorities from the start: to serve as an example of the change they wish to see in the world, and to champion some of the freshest bands on the dark side of the musical spectrum—from the noisy, industrial grind of Oakland’s Malocculsion to the \u003cem>new\u003c/em>-new-wave inflections of Vancouver’s Koban.\u003c/p>\n\u003cfigure id=\"attachment_13849203\" class=\"wp-caption alignleft\" style=\"max-width: 623px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg\" alt=\"Experimental band V.E.X. is featured on Psychic Eye Records' new benefit compilation, 'Sacred Spells.'\" width=\"623\" height=\"763\" class=\"size-full wp-image-13849203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green.jpg 623w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/VEX-photo-by-Julie-Pavlowski-Green-160x196.jpg 160w\" sizes=\"(max-width: 623px) 100vw, 623px\" />\u003cfigcaption class=\"wp-caption-text\">Experimental band V.E.X. is featured on Psychic Eye Records’ new benefit compilation, ‘Sacred Spells.’ \u003ccite>(Julie Pavlowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent interview, Sampson—who plays bass in post-punk trio Ötzi and works as a freelance video editor and \u003ca href=\"https://www.youtube.com/watch?v=4yzoEczqcOA\" target=\"_blank\" rel=\"noopener\">director\u003c/a> by day—clarified that they’d like Oakland’s reinvigorated goth and dark music scene to encompass more inclusive values.\u003c/p>\n\u003cp>“To me it’s an important time to ask who the scene is going to include,” Sampson says. “What are the priorities of us as a community? … Who we are and what it is we’re here for?”\u003c/p>\n\u003cp>The Trans Prisoner Day of Action and Solidarity is a good place to start. First conceptualized by anarchist-activist and trans prisoner \u003ca href=\"https://supportmariusmason.org/\" target=\"_blank\" rel=\"noopener\">Marius Mason\u003c/a>, it raises awareness of the abuses trans people face in jails, prisons and immigration detention centers, including violence and sexual assault from guards and fellow inmates, solitary confinement and denial of medical treatment.\u003c/p>\n\u003cp>Trans inmates’ struggles are rarely acknowledged in the mainstream media, let alone by the criminal justice system. In 2018, the U.S. Federal Bureau of Prisons \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/12/610692321/the-guidelines-for-protection-of-transgender-prisoners-just-got-rewritten\" target=\"_blank\" rel=\"noopener\">rolled back\u003c/a> Obama-era protections for trans prisoners, placing them at a higher risk of abuse while in custody.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4127978411/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>TGIJP has been serving this population on the front lines for fifteen years, providing vital support networks, connecting current and former inmates to resources and organizing grassroots actions.\u003c/p>\n\u003cp>“To me they’re a really important and influential organization,” Sampson says. “There’s a lot of fundraising that I see for the \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://www.hrc.org/\" target=\"_blank\" rel=\"noopener\">Human Rights Campaign\u003c/a>, and that sort of thing, but there’s still a group of people not being represented there. I thought that since this is a release coming from the subculture, we don’t have to give our money to organizations already being supported by the mainstream. Incarcerated trans women, to me, sounds like a really isolated, dangerous situation to be in, and I wanted to support them as people who are the most vulnerable.” \u003c/p>\n\u003cfigure id=\"attachment_13849205\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg\" alt=\"The Bedroom Witch's experimental pop draws from social justice themes and the occult.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/TheBedroomWitch-Photo-by-Kristin-Cofer.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">The Bedroom Witch’s experimental pop draws from social justice themes and the occult. \u003ccite>(Kristin Cofer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the best compilations, listening to \u003cem>Sacred Spells\u003c/em> is an exercise in discovery, and there’s something for lovers of alternative and experimental music of all stripes. Some standout tracks include the aforementioned Malocculsion with the song “Wormfood”;”Tomorrow Never Comes,” an intricately-layered requiem by V.E.X.; the synth-driven moan of “Blood Debts” by Zanna Nera; “Ana Venus,” an urgent electronic foray by Grenoble’s Lovataraxx; and the hauntingly operatic “Scarecrow Jim Crow I’m a Demon Coming at You” by performance artist and musician M. Lamar, who happens to be the sibling of trans actress and activist Laverne Cox of \u003cem>Orange is the New Black\u003c/em>.\u003c/p>\n\u003cp>Although Sampson mostly focused on musical output when selecting artists for the project, they wanted to make sure that trans musicians occupied a prominent place on the slate. V.E.X., Aesthetic Barrier and The Bedroom Witch all include trans and non-binary musicians, and Sampson’s own solo side project—Yama Uba—is also featured with “Angel,” rounding out the selection with soaring vocals and a ruthless, insistent drum track.\u003c/p>\n\u003cp>Sepehr Mashiahof—who performs as The Bedroom Witch—embodies the multiple themes within \u003cem>Sacred Spells\u003c/em>: she’s an Iranian-American trans woman and self-identified witch, and her work courses with social justice and occult themes. Her track from \u003cem>Sacred Spells\u003c/em>, “This House is No Longer,” is a chilling reckoning, layered with melodic bells, squiggles of synths and poetic lyrics. In an email, she praised Sampson’s efforts to use creativity to help trans people facing violence and discrimination.\u003c/p>\n\u003cp>“For those who are watching this continued targeting of trans and non-binary people (especially against Black trans women) unfold and are looking for ways to help seek justice for the community,” she writes, “Supplementing the efforts of TGI Justice Project and other similar organizations directly is an accessible place to start.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The story of one of Silicon Valley’s largest figures will hit the stage of the War Memorial Opera House next year, in June 2020.\u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, by Bay Area composer Mason Bates with libretto by Mark Campbell, made waves in its 2017 premiere in Santa Fe, New Mexico. It follows the Apple CEO after the introduction of the iPhone in 2007, as he faces mortality and looks back upon his life. \u003c/p>\n\u003cp>[contextly_sidebar id=”vPtCItElYQvcs7IFisDtRIsIjtvG7vJe”]\u003c/p>\n\u003cp>Speaking with KQED, SF Opera’s general director Matthew Shilvock says the opera isn’t a simple “biography in music” of Steve Jobs. “Rather, he becomes the archetype through which we can understand the part of the world that we live in… success, ambition, family, love, work—all these things collide in our part of the world.”\u003c/p>\n\u003cp>The rest of the season, \u003ca href=\"https://sfopera.com/2019-20-season/\" rel=\"noopener\" target=\"_blank\">announced today\u003c/a>, includes some other surprises, including works by Verdi and Puccini that the casual opera fan might not have heard of. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Puccini’s \u003cem>Manon Lescaut\u003c/em> helped launch the composer onto the world stage, before \u003cem>La bohème\u003c/em> or \u003cem>Tosca\u003c/em>; it will be conducted by Nicola Luisotti, returning to the podium at SF Opera. And Verdi’s \u003cem>Ernani\u003c/em>, a Gold Rush-era hit conducted anew by James Gaffigan, includes the first aria ever recorded in San Francisco.\u003c/p>\n\u003cp>Neither \u003cem>Manon Lescaut\u003c/em> or \u003cem>Ernani\u003c/em> are large attendance draws in smaller cities, but in San Francisco, “we should feel proud as a community that we are one of the companies in America who \u003cem>can\u003c/em> undertake these lesser-known titles,” Shilvock says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also as part of the season is a new staging of Mozart’s \u003cem>The Marriage of Figaro\u003c/em>, Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Humperdink’s \u003cem>Hansel and Gretel\u003c/em>, and Handel’s \u003cem>Partenope\u003c/em>. \u003ca href=\"https://sfopera.com/2019-20-season/\" rel=\"noopener\" target=\"_blank\">Full details and tickets here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The story of one of Silicon Valley’s largest figures will hit the stage of the War Memorial Opera House next year, in June 2020.\u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, by Bay Area composer Mason Bates with libretto by Mark Campbell, made waves in its 2017 premiere in Santa Fe, New Mexico. It follows the Apple CEO after the introduction of the iPhone in 2007, as he faces mortality and looks back upon his life. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Speaking with KQED, SF Opera’s general director Matthew Shilvock says the opera isn’t a simple “biography in music” of Steve Jobs. “Rather, he becomes the archetype through which we can understand the part of the world that we live in… success, ambition, family, love, work—all these things collide in our part of the world.”\u003c/p>\n\u003cp>The rest of the season, \u003ca href=\"https://sfopera.com/2019-20-season/\" rel=\"noopener\" target=\"_blank\">announced today\u003c/a>, includes some other surprises, including works by Verdi and Puccini that the casual opera fan might not have heard of. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Puccini’s \u003cem>Manon Lescaut\u003c/em> helped launch the composer onto the world stage, before \u003cem>La bohème\u003c/em> or \u003cem>Tosca\u003c/em>; it will be conducted by Nicola Luisotti, returning to the podium at SF Opera. And Verdi’s \u003cem>Ernani\u003c/em>, a Gold Rush-era hit conducted anew by James Gaffigan, includes the first aria ever recorded in San Francisco.\u003c/p>\n\u003cp>Neither \u003cem>Manon Lescaut\u003c/em> or \u003cem>Ernani\u003c/em> are large attendance draws in smaller cities, but in San Francisco, “we should feel proud as a community that we are one of the companies in America who \u003cem>can\u003c/em> undertake these lesser-known titles,” Shilvock says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also as part of the season is a new staging of Mozart’s \u003cem>The Marriage of Figaro\u003c/em>, Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Humperdink’s \u003cem>Hansel and Gretel\u003c/em>, and Handel’s \u003cem>Partenope\u003c/em>. \u003ca href=\"https://sfopera.com/2019-20-season/\" rel=\"noopener\" target=\"_blank\">Full details and tickets here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Salonen's Debut SF Symphony Concert Shows His Maverick Heart",
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"content": "\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”ekQu5Mcdt76Qwes7ptosdcH9bWh9LDYB”]\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Update:\u003c/strong> Princess Nokia deleted her original tweet calling out Ariana Grande after accusations surfaced of her \u003ca href=\"https://twitter.com/ElvisSuljevic/status/1086411470882127872\" target=\"_blank\" rel=\"noopener noreferrer\">plagiarizing Kali Uchis\u003c/a> and \u003ca href=\"https://twitter.com/producedbyKrs/status/1086404623957741568?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1086404623957741568&ref_url=https%3A%2F%2Fbossip.com%2F1694524%2Fshouldve-just-sat-there-producer-accuses-princess-nokia-of-jacking-song-she-originally-accused-ariana-grande-of-stealing%2F\" target=\"_blank\" rel=\"noopener noreferrer\">producedbykrs\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Since her Pharrell-produced album \u003cem>Sweetener \u003c/em>and chart-topping surprise single “thank u, next,” Ariana Grande has enjoyed one of the most successful pop star rebrands of the last several years, attracting a new fanbase that admires her vulnerable yet empowered new approach.\u003c/p>\n\u003cp>But some listeners are starting to side-eye the singer as she edges into cultural-appropriation territory. The latest criticism comes for Grande’s new single and music video for “7 Rings,” including the catchy refrain “You like my hair? / Gee thanks, just bought it,” which she raps in a staccato flow reminiscent of Soulja Boy’s “Pretty Boy Swag.”\u003c/p>\n\u003cp>Ostensibly referring to Grande’s famously long ponytail extensions, the lyrics also sound strikingly similar to the hook of Princess Nokia’s track “Mine,” an outspoken celebration of wigs, weaves, extensions, afros and other various ways black and brown women choose to wear their hair. In the vein of Solange’s “Don’t Touch My Hair,” Nokia tells white onlookers that how she chooses to style herself is her business and her business only. “It’s mine, I bought it / It’s mine, I bought it,” Nokia rhymes over a pop trap beat not unlike that of Grande’s “7 Rings.”\u003c/p>\n\u003cp>“Ain’t that the little song I made about brown women and their hair? Hmmm. Sounds about white,” Princess Nokia said in a Twitter video of herself listening to the songs side by side.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/princessnokia/status/1086316612511322113\u003c/p>\n\u003cp>While Nokia didn’t invent the flow or beat (trap and pop have intermingled for years now), Grande’s alleged copycatting seems in particularly poor taste because of the content of both songs. “Mine” counters longstanding social stigmas about black and brown women’s hair, while “7 Rings” doesn’t seem to say much other than “I’m white, rich and can have whatever I want.”\u003c/p>\n\u003cp>Coupled with the fact that Ariana Grande sports a very drastic fake tan—to the point that many fans and industry figures have assumed she’s Latina instead of white—this raises red flags of \u003ca href=\"https://jezebel.com/the-making-and-unmaking-of-iggy-azalea-1797030869\" target=\"_blank\" rel=\"noopener noreferrer\">Iggy Azalea-like appropriation\u003c/a>.\u003c/p>\n\u003cp>Listen to both songs below and hear for yourself.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/332475642″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/QYh6mYIJG2Y\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update:\u003c/strong> Princess Nokia deleted her original tweet calling out Ariana Grande after accusations surfaced of her \u003ca href=\"https://twitter.com/ElvisSuljevic/status/1086411470882127872\" target=\"_blank\" rel=\"noopener noreferrer\">plagiarizing Kali Uchis\u003c/a> and \u003ca href=\"https://twitter.com/producedbyKrs/status/1086404623957741568?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1086404623957741568&ref_url=https%3A%2F%2Fbossip.com%2F1694524%2Fshouldve-just-sat-there-producer-accuses-princess-nokia-of-jacking-song-she-originally-accused-ariana-grande-of-stealing%2F\" target=\"_blank\" rel=\"noopener noreferrer\">producedbykrs\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Since her Pharrell-produced album \u003cem>Sweetener \u003c/em>and chart-topping surprise single “thank u, next,” Ariana Grande has enjoyed one of the most successful pop star rebrands of the last several years, attracting a new fanbase that admires her vulnerable yet empowered new approach.\u003c/p>\n\u003cp>But some listeners are starting to side-eye the singer as she edges into cultural-appropriation territory. The latest criticism comes for Grande’s new single and music video for “7 Rings,” including the catchy refrain “You like my hair? / Gee thanks, just bought it,” which she raps in a staccato flow reminiscent of Soulja Boy’s “Pretty Boy Swag.”\u003c/p>\n\u003cp>Ostensibly referring to Grande’s famously long ponytail extensions, the lyrics also sound strikingly similar to the hook of Princess Nokia’s track “Mine,” an outspoken celebration of wigs, weaves, extensions, afros and other various ways black and brown women choose to wear their hair. In the vein of Solange’s “Don’t Touch My Hair,” Nokia tells white onlookers that how she chooses to style herself is her business and her business only. “It’s mine, I bought it / It’s mine, I bought it,” Nokia rhymes over a pop trap beat not unlike that of Grande’s “7 Rings.”\u003c/p>\n\u003cp>“Ain’t that the little song I made about brown women and their hair? Hmmm. Sounds about white,” Princess Nokia said in a Twitter video of herself listening to the songs side by side.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you recognize Gabriel Kahane’s last name, you’re not alone, at least in the Bay Area. For 10 years, his father Jeffrey Kahane conducted the Santa Rosa Symphony, and appeared as a concert pianist throughout the region. But the apple did not fall far from the tree, and once it did, it swiftly rolled to New York City. \u003c/p>\n\u003cp>Kahane the Younger isn’t a classical musician \u003cem>per se\u003c/em>, but his music and voice has a chamber-pop sensibility—the kind that lends projects like \u003cem>\u003ca href=\"https://gabrielkahane.bandcamp.com/album/craigslistlieder\" rel=\"noopener\" target=\"_blank\">Craigslistlieder\u003c/a>\u003c/em>, his song cycle based on Craigslist personal ads, a stamp of formality. But for his latest album, Kahane went decidedly less formal, and hopped on a train to criss-cross America for two weeks with no phone and no internet, talking to strangers along the way. He left the station on Nov. 9, 2016.\u003c/p>\n\u003cp>The result, \u003cem>Book of Travelers\u003c/em>, is a series of songs capturing a post-Trump America, often based on Kahane’s verbatim conversations with people. Primarily, he wanted to see just how similar we in a supposedly divided nation really were. As he \u003ca href=\"https://www.npr.org/2018/08/28/642576644/strangers-on-a-train-how-gabriel-kahanes-travels-inspired-an-album-of-empathy\" rel=\"noopener\" target=\"_blank\">told NPR\u003c/a> last year, “I had a perception that some of the polarization was manufactured by the internet and by media and, in a sense, by a ruling class that benefits from division.” \u003c/p>\n\u003cp>On Jan. 26, Kahane brings songs from \u003cem>Book of Travelers\u003c/em> to this year’s \u003ca href=\"https://sfperformances.org/performances/1819/Pivot.html\" rel=\"noopener\" target=\"_blank\">Pivot series\u003c/a>, spanning four days at Herbst Theatre. Also on the schedule are pianist Ran Dank in his San Francisco recital debut (Jan. 24), bass-baritone Dashon Burton singing songs of struggle and redemption (Jan. 27), and jazz vocalist Paula West (Jan. 25) in what’s sure to be a commanding set of Bob Dylan songs. \u003c/p>\n\u003cp>But pardon our delight at another name on the bill. Cy Musiker, former host of KQED’s \u003cem>The Do List\u003c/em>, hikes down from his country hill to moderate post-concert discussions with the artists on each of the festival’s four nights. He \u003ca href=\"https://www.kqed.org/arts/13831833/cy-musiker-host-of-the-do-list-departs-kqed-after-23-years\" rel=\"noopener\" target=\"_blank\">retired from KQED\u003c/a> last year, and we already miss the guy. Smart and affable, Musiker brings an experience and curiosity that should provide plenty of jump-offs for insight on music’s role in these insane times. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pivot series runs Jan 24–27 at the Herbst Theatre. \u003ca href=\"https://sfperformances.org/performances/1819/Pivot.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you recognize Gabriel Kahane’s last name, you’re not alone, at least in the Bay Area. For 10 years, his father Jeffrey Kahane conducted the Santa Rosa Symphony, and appeared as a concert pianist throughout the region. But the apple did not fall far from the tree, and once it did, it swiftly rolled to New York City. \u003c/p>\n\u003cp>Kahane the Younger isn’t a classical musician \u003cem>per se\u003c/em>, but his music and voice has a chamber-pop sensibility—the kind that lends projects like \u003cem>\u003ca href=\"https://gabrielkahane.bandcamp.com/album/craigslistlieder\" rel=\"noopener\" target=\"_blank\">Craigslistlieder\u003c/a>\u003c/em>, his song cycle based on Craigslist personal ads, a stamp of formality. But for his latest album, Kahane went decidedly less formal, and hopped on a train to criss-cross America for two weeks with no phone and no internet, talking to strangers along the way. He left the station on Nov. 9, 2016.\u003c/p>\n\u003cp>The result, \u003cem>Book of Travelers\u003c/em>, is a series of songs capturing a post-Trump America, often based on Kahane’s verbatim conversations with people. Primarily, he wanted to see just how similar we in a supposedly divided nation really were. As he \u003ca href=\"https://www.npr.org/2018/08/28/642576644/strangers-on-a-train-how-gabriel-kahanes-travels-inspired-an-album-of-empathy\" rel=\"noopener\" target=\"_blank\">told NPR\u003c/a> last year, “I had a perception that some of the polarization was manufactured by the internet and by media and, in a sense, by a ruling class that benefits from division.” \u003c/p>\n\u003cp>On Jan. 26, Kahane brings songs from \u003cem>Book of Travelers\u003c/em> to this year’s \u003ca href=\"https://sfperformances.org/performances/1819/Pivot.html\" rel=\"noopener\" target=\"_blank\">Pivot series\u003c/a>, spanning four days at Herbst Theatre. Also on the schedule are pianist Ran Dank in his San Francisco recital debut (Jan. 24), bass-baritone Dashon Burton singing songs of struggle and redemption (Jan. 27), and jazz vocalist Paula West (Jan. 25) in what’s sure to be a commanding set of Bob Dylan songs. \u003c/p>\n\u003cp>But pardon our delight at another name on the bill. Cy Musiker, former host of KQED’s \u003cem>The Do List\u003c/em>, hikes down from his country hill to moderate post-concert discussions with the artists on each of the festival’s four nights. He \u003ca href=\"https://www.kqed.org/arts/13831833/cy-musiker-host-of-the-do-list-departs-kqed-after-23-years\" rel=\"noopener\" target=\"_blank\">retired from KQED\u003c/a> last year, and we already miss the guy. Smart and affable, Musiker brings an experience and curiosity that should provide plenty of jump-offs for insight on music’s role in these insane times. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Pivot series runs Jan 24–27 at the Herbst Theatre. \u003ca href=\"https://sfperformances.org/performances/1819/Pivot.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Though allegations of abuse against R. Kelly have been public for two decades, it took dream hampton’s six-part Lifetime docuseries \u003cem>Surviving R. Kelly\u003c/em>—and the subsequent public outrage, including a \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\" target=\"_blank\" rel=\"noopener noreferrer\">protest\u003c/a> at Sony headquarters—to get the music industry to do anything about it.\u003c/p>\n\u003cp>\u003ca href=\"https://variety.com/2019/biz/news/r-kelly-dropped-sony-music-1203106180/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> published a scoop today that R. Kelly’s label RCA (a subsidiary of Sony Music) has cut ties with the singer, according to a source inside the company. R. Kelly’s name has been removed from the artist roster on RCA’s website, though his back catalog will remain with the label.\u003c/p>\n\u003cp>What took Sony Music so long? According to an entertainment lawyer quoted in the \u003cem>Variety\u003c/em> article, most labels have a clause in their contracts which specifies that they may terminate an artist if they are \u003cem>convicted\u003c/em> of a crime of moral turpitude. [contextly_sidebar id=”0pBWHWRLjWflRXNkYJQyjBTbATdBa7vP”]\u003c/p>\n\u003cp>Though R. Kelly went to court on child pornography charges in 2000, he was acquitted in 2008. And despite several accusers who’ve brought \u003ca href=\"https://www.spin.com/2017/07/r-kelly-sexual-misconduct-allegations-timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">civil suits\u003c/a> against R. Kelly to recoup damages for alleged abuse—and the numerous women who’ve gone public with stories about R. Kelly’s alleged \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult#.umLpRYlMDl\" target=\"_blank\" rel=\"noopener noreferrer\">sex cults\u003c/a> and predilection for underage girls—the music industry has, until \u003cem>Surviving R. Kelly\u003c/em>, proceeded with business as usual.\u003c/p>\n\u003cp>Many of these accusations have been known for over 20 years, which is why the industry’s belated response feels like too little, too late to many advocates of women’s rights. Lady Gaga, for instance, \u003ca href=\"https://www.rollingstone.com/music/music-features/r-kelly-lady-gaga-chance-rapper-apology-777782/\" target=\"_blank\" rel=\"noopener noreferrer\">came under fire\u003c/a> this week for collaborating with Kelly in 2013; she removed the track from streaming platforms only after \u003cem>Surviving R. Kelly\u003c/em>‘s release. (Gaga has since apologized.) Meanwhile, Chance the Rapper incensed many of his fans when he bluntly explained of collaborating with R. Kelly in 2015, “Maybe I didn’t care because I didn’t value the accusers’ stories, because they were black women.” [contextly_sidebar id=”DtMQmNl1MpuVNFurjbdwBvYApyjNhQeH”]\u003c/p>\n\u003cp>Chance’s admission, though jarring, speaks to the big-picture reasons for why the hip-hop and R&B worlds have been slow to oust abusers and advocate for alleged victims amid the ongoing #MeToo movement.\u003c/p>\n\u003cp>As cultural critic Sylvia O’Bell writes in her excellent BuzzFeed essay, “\u003ca href=\"https://www.buzzfeednews.com/article/sylviaobell/times-up-metoo-abusive-men-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">Will Time Ever Be Up for Abusive Men in Hip-Hop?\u003c/a>“: “It is fair to deduce that these alleged predators face fewer consequences because the majority of their victims are black women who are, as Malcolm X accurately noted, ‘the most unprotected person in America.’ Would R. Kelly have gotten away with decades of allegations of illegal sexual relationships with underage girls and keeping a ‘cult’ of young women away from their families if they were all white? Would record labels and radio stations continue to support Chris Brown’s career if it had been Taylor Swift’s beat-up face in those pictures?”\u003c/p>\n\u003cp>These factors, O’Bell notes, and the desire to protect powerful black men from a racist criminal justice system are the reasons people like R. Kelly often go unchecked.\u003c/p>\n\u003cp>The #MeToo movement is redefining how we as a society view domestic violence and sexual assault, and dispelling myths about how victims should behave in order to be believed (for instance, the notion that victims aren’t credible if they take years to come forward due to trauma). Though the industry’s lack of action about R. Kelly might be appalling in retrospect, the impact \u003cem>Surviving R. Kelly\u003c/em> has had, and continues to have, is a hopeful sign of a growing culture shift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though allegations of abuse against R. Kelly have been public for two decades, it took dream hampton’s six-part Lifetime docuseries \u003cem>Surviving R. Kelly\u003c/em>—and the subsequent public outrage, including a \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\" target=\"_blank\" rel=\"noopener noreferrer\">protest\u003c/a> at Sony headquarters—to get the music industry to do anything about it.\u003c/p>\n\u003cp>\u003ca href=\"https://variety.com/2019/biz/news/r-kelly-dropped-sony-music-1203106180/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> published a scoop today that R. Kelly’s label RCA (a subsidiary of Sony Music) has cut ties with the singer, according to a source inside the company. R. Kelly’s name has been removed from the artist roster on RCA’s website, though his back catalog will remain with the label.\u003c/p>\n\u003cp>What took Sony Music so long? According to an entertainment lawyer quoted in the \u003cem>Variety\u003c/em> article, most labels have a clause in their contracts which specifies that they may terminate an artist if they are \u003cem>convicted\u003c/em> of a crime of moral turpitude. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though R. Kelly went to court on child pornography charges in 2000, he was acquitted in 2008. And despite several accusers who’ve brought \u003ca href=\"https://www.spin.com/2017/07/r-kelly-sexual-misconduct-allegations-timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">civil suits\u003c/a> against R. Kelly to recoup damages for alleged abuse—and the numerous women who’ve gone public with stories about R. Kelly’s alleged \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult#.umLpRYlMDl\" target=\"_blank\" rel=\"noopener noreferrer\">sex cults\u003c/a> and predilection for underage girls—the music industry has, until \u003cem>Surviving R. Kelly\u003c/em>, proceeded with business as usual.\u003c/p>\n\u003cp>Many of these accusations have been known for over 20 years, which is why the industry’s belated response feels like too little, too late to many advocates of women’s rights. Lady Gaga, for instance, \u003ca href=\"https://www.rollingstone.com/music/music-features/r-kelly-lady-gaga-chance-rapper-apology-777782/\" target=\"_blank\" rel=\"noopener noreferrer\">came under fire\u003c/a> this week for collaborating with Kelly in 2013; she removed the track from streaming platforms only after \u003cem>Surviving R. Kelly\u003c/em>‘s release. (Gaga has since apologized.) Meanwhile, Chance the Rapper incensed many of his fans when he bluntly explained of collaborating with R. Kelly in 2015, “Maybe I didn’t care because I didn’t value the accusers’ stories, because they were black women.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chance’s admission, though jarring, speaks to the big-picture reasons for why the hip-hop and R&B worlds have been slow to oust abusers and advocate for alleged victims amid the ongoing #MeToo movement.\u003c/p>\n\u003cp>As cultural critic Sylvia O’Bell writes in her excellent BuzzFeed essay, “\u003ca href=\"https://www.buzzfeednews.com/article/sylviaobell/times-up-metoo-abusive-men-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">Will Time Ever Be Up for Abusive Men in Hip-Hop?\u003c/a>“: “It is fair to deduce that these alleged predators face fewer consequences because the majority of their victims are black women who are, as Malcolm X accurately noted, ‘the most unprotected person in America.’ Would R. Kelly have gotten away with decades of allegations of illegal sexual relationships with underage girls and keeping a ‘cult’ of young women away from their families if they were all white? Would record labels and radio stations continue to support Chris Brown’s career if it had been Taylor Swift’s beat-up face in those pictures?”\u003c/p>\n\u003cp>These factors, O’Bell notes, and the desire to protect powerful black men from a racist criminal justice system are the reasons people like R. Kelly often go unchecked.\u003c/p>\n\u003cp>The #MeToo movement is redefining how we as a society view domestic violence and sexual assault, and dispelling myths about how victims should behave in order to be believed (for instance, the notion that victims aren’t credible if they take years to come forward due to trauma). Though the industry’s lack of action about R. Kelly might be appalling in retrospect, the impact \u003cem>Surviving R. Kelly\u003c/em> has had, and continues to have, is a hopeful sign of a growing culture shift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Toro y Moi has \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">sped through the Atlantic\u003c/a> on Diddy’s speedboat, produced for Travis Scott and performed for sold-out crowds around the world. But his day-to-day life in the Bay Area isn’t nearly as glamorous. Most of the time, in fact, he can be found collaborating with local artists at his warehouse on a graffiti-covered street in North Oakland—the home base of his design studio and record label, Company.\u003c/p>\n\u003cp>But glamor isn’t what the artist—real name Chaz Bear—looks for in a city. “If you look at Oakland and where it’s going, I feel like it’s a city for subcultural artists of color. It’s open-minded,” he tells me on a rainy afternoon at KQED’s San Francisco office, where he arrives wearing a neon-green, reflective worker’s jacket screenprinted with the Company Records logo.\u003c/p>\n\u003cp>Company’s headquarters isn’t far from the final freeway exit Bear takes in his 2017 one-take visual album, \u003ca href=\"https://youtu.be/9rPOuZ4vY50\" target=\"_blank\" rel=\"noopener\">\u003cem>Boo Boo\u003c/em>\u003c/a>, which follows his car from San Francisco and over the Bay Bridge into Oakland. Released after Bear reached a new pinnacle of mainstream success (the \u003ca href=\"https://www.youtube.com/watch?v=p-VjvajEJNw\" target=\"_blank\" rel=\"noopener\">Travis Scott collaboration\u003c/a> came in 2015 for the rapper’s chart-topping debut, \u003cem>Rodeo\u003c/em>; the Diddy connection took root that same year, backstage at Coachella), the \u003cem>Boo Boo\u003c/em> video served as metaphor, reaffirming his commitment to his adopted East Bay home while the music industry’s eyes were on him.\u003c/p>\n\u003cfigure id=\"attachment_11629028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629028\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg\" alt=\"Chaz Budnick of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaz Bear of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the year and a half between the heartbreak themes of \u003cem>Boo Boo\u003c/em> and his funkier, more danceable new Toro y Moi album, \u003cem>Outer Peace\u003c/em> (released Jan. 18 on Carpark Records), Bear established himself as a passionate supporter of the Bay Area’s creative community through collaborations with local artists. Those include diverse, interdisciplinary collectives \u003ca href=\"https://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>, \u003ca href=\"http://shadezine.com/\" target=\"_blank\" rel=\"noopener\">Shade Zine\u003c/a> and \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, all of whom have significantly shaped Oakland’s visual art and nightlife scenes in the past several years.\u003c/p>\n\u003cp>“The first show I played here was at Bottom of the Hill, and the first thing I noticed was how diverse the crowd was. The first two rows were Filipino teens,” says Bear, who is Filipino and African American, with a slight build, bleached hair and a soft-spoken demeanor. “This was my first show out of South Carolina, and I was blown away. It was cool to see a city that had a diverse subculture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Jm6hDWBZXc4\u003c/p>\n\u003cp>Bear arrived in the Bay Area in 2012, when he followed his then-girlfriend from South Carolina to her grad program at UC Berkeley. During that period, he rose in the ranks of the music blogosphere and became known as a key architect of chillwave, a fuzzed-out indie rock and electronic subgenre that continues to influence to today’s pop music landscape.\u003c/p>\n\u003cp>After moving to the Bay, Bear quickly gelled with the local scene—and his sound evolved, too. In part through various DJ gigs—including several at Wine & Bowties’ homegrown mini-festival, \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>—he honed the sleek, autotuned take on funk and disco that defines \u003cem>Outer Peace\u003c/em>. While \u003cem>Boo Boo\u003c/em> lamented his separation from his high-school sweetheart, \u003cem>Outer Peace\u003c/em> finds Bear in a productive and energized state. The album celebrates the creative hustle of self-employed artists behind their laptops; the debut single, appropriately, is called “Freelance.”\u003c/p>\n\u003cp>With creative partner Brendan Nakahara, Bear built Company’s headquarters on that “Freelance” ethos of a constant grind. When we talk, he likens it to a millennial version of Andy Warhol’s famed Factory, where white indie-rock dudes rub shoulders with black feminist photographers and Asian-American designers.\u003c/p>\n\u003cp>“It’s really sick to see these crews getting their foot in the door, and I feel like I’m in a position where I have to come in with the assist,” he reflects. “It’s almost required as a successful person—you have to give back. If you’re not giving opportunities, it’s kind of for the wrong reasons.”\u003c/p>\n\u003cp>As much as Bear loves Oakland, the sold-out kickoff show for his \u003cem>Outer Peace\u003c/em> tour at the New Parish proved that the town loves him right back. The eager audience applauded his slightly awkward dance moves, clapping along on the two and the four of almost every track.\u003c/p>\n\u003cfigure id=\"attachment_13848959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg\" alt=\"Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Company, Bear produces for several Oakland indie acts, including \u003ca href=\"https://tanukichan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tanukichan\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>. He mentors his artists on all aspects of the biz, including writing hooks, social media branding and booking shows. Unlike at a traditional label, “there’s no advance, but you get my time and my ear and my eye and we’ll make the best thing we can make,” Bear says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s good at putting people into contexts where they can then find their own voices, whether it’s producing a record or having them on for a tour,” says Astronauts, etc.’s Anthony Ferraro, who is also Bear’s touring keyboardist and has his own studio at Company HQ. “He’s a really good enabler. He has an intuition for that sort of thing.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Though Bear bases most of his collaborations on friendship, he ultimately sees Company as a business. To hang with his crew, you can’t be a purist with too many misgivings about “selling out,” nor harbor too many romantic aspirations of art existing outside of the market. For example, while many in the Bay Area’s creative scene bristle at mentions of the tech industry—a primary driver of gentrification and displacement in the region—Bear is quick to cite Instagram as a source of inspiration for his interdisciplinary curation at Company.\u003c/p>\n\u003cp>“D.I.Y. is great, but we also want it to pay for itself,” he says. “It’s hard to make that first jump as an artist, to put yourself out there and really sell it, do the interviews and brand your image, to go from playing house shows to being at The Fillmore.”\u003c/p>\n\u003cp>For instance, Salami Rose Joe Louis, one of his opening acts for his \u003cem>Outer Peace\u003c/em> tour (which kicked off Jan. 14 in Oakland), played the local house-show circuit as recently as six months ago. After they opened for Toro y Moi at The Novo, a 2,400-capacity club in Los Angeles, Bear remembers telling the band: “I’m sure you guys must be feeling crazy right now, but we’re really putting Oakland on.”\u003c/p>\n\u003cp>As much as he’s thrived on a D.I.Y. approach, Bear’s eventual goal is to own the Company Records building and build a more permanent infrastructure that includes a staff. Basically, he’s trying to implement the lessons he learned from hanging with Diddy on that boat off the Miami coast.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The knowledge I got from hanging out with artists who are bigger than me or more successful—you can’t read about that sort of stuff, you just have to see it,” he says. “It’s fun to see how other camps work in bigger industries, and to bring that knowledge back down to the indie scene is valuable.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "Though he's worked with Travis Scott and taken boat rides with Diddy, Toro y Moi is committed as ever to Oakland's local scene. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toro y Moi has \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" target=\"_blank\" rel=\"noopener\">sped through the Atlantic\u003c/a> on Diddy’s speedboat, produced for Travis Scott and performed for sold-out crowds around the world. But his day-to-day life in the Bay Area isn’t nearly as glamorous. Most of the time, in fact, he can be found collaborating with local artists at his warehouse on a graffiti-covered street in North Oakland—the home base of his design studio and record label, Company.\u003c/p>\n\u003cp>But glamor isn’t what the artist—real name Chaz Bear—looks for in a city. “If you look at Oakland and where it’s going, I feel like it’s a city for subcultural artists of color. It’s open-minded,” he tells me on a rainy afternoon at KQED’s San Francisco office, where he arrives wearing a neon-green, reflective worker’s jacket screenprinted with the Company Records logo.\u003c/p>\n\u003cp>Company’s headquarters isn’t far from the final freeway exit Bear takes in his 2017 one-take visual album, \u003ca href=\"https://youtu.be/9rPOuZ4vY50\" target=\"_blank\" rel=\"noopener\">\u003cem>Boo Boo\u003c/em>\u003c/a>, which follows his car from San Francisco and over the Bay Bridge into Oakland. Released after Bear reached a new pinnacle of mainstream success (the \u003ca href=\"https://www.youtube.com/watch?v=p-VjvajEJNw\" target=\"_blank\" rel=\"noopener\">Travis Scott collaboration\u003c/a> came in 2015 for the rapper’s chart-topping debut, \u003cem>Rodeo\u003c/em>; the Diddy connection took root that same year, backstage at Coachella), the \u003cem>Boo Boo\u003c/em> video served as metaphor, reaffirming his commitment to his adopted East Bay home while the music industry’s eyes were on him.\u003c/p>\n\u003cfigure id=\"attachment_11629028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629028\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg\" alt=\"Chaz Budnick of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5166-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chaz Bear of Toro Y Moi spins a DJ set at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the year and a half between the heartbreak themes of \u003cem>Boo Boo\u003c/em> and his funkier, more danceable new Toro y Moi album, \u003cem>Outer Peace\u003c/em> (released Jan. 18 on Carpark Records), Bear established himself as a passionate supporter of the Bay Area’s creative community through collaborations with local artists. Those include diverse, interdisciplinary collectives \u003ca href=\"https://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>, \u003ca href=\"http://shadezine.com/\" target=\"_blank\" rel=\"noopener\">Shade Zine\u003c/a> and \u003ca href=\"https://clubchai.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Club Chai\u003c/a>, all of whom have significantly shaped Oakland’s visual art and nightlife scenes in the past several years.\u003c/p>\n\u003cp>“The first show I played here was at Bottom of the Hill, and the first thing I noticed was how diverse the crowd was. The first two rows were Filipino teens,” says Bear, who is Filipino and African American, with a slight build, bleached hair and a soft-spoken demeanor. “This was my first show out of South Carolina, and I was blown away. It was cool to see a city that had a diverse subculture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jm6hDWBZXc4'\n title='//www.youtube.com/embed/Jm6hDWBZXc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bear arrived in the Bay Area in 2012, when he followed his then-girlfriend from South Carolina to her grad program at UC Berkeley. During that period, he rose in the ranks of the music blogosphere and became known as a key architect of chillwave, a fuzzed-out indie rock and electronic subgenre that continues to influence to today’s pop music landscape.\u003c/p>\n\u003cp>After moving to the Bay, Bear quickly gelled with the local scene—and his sound evolved, too. In part through various DJ gigs—including several at Wine & Bowties’ homegrown mini-festival, \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>—he honed the sleek, autotuned take on funk and disco that defines \u003cem>Outer Peace\u003c/em>. While \u003cem>Boo Boo\u003c/em> lamented his separation from his high-school sweetheart, \u003cem>Outer Peace\u003c/em> finds Bear in a productive and energized state. The album celebrates the creative hustle of self-employed artists behind their laptops; the debut single, appropriately, is called “Freelance.”\u003c/p>\n\u003cp>With creative partner Brendan Nakahara, Bear built Company’s headquarters on that “Freelance” ethos of a constant grind. When we talk, he likens it to a millennial version of Andy Warhol’s famed Factory, where white indie-rock dudes rub shoulders with black feminist photographers and Asian-American designers.\u003c/p>\n\u003cp>“It’s really sick to see these crews getting their foot in the door, and I feel like I’m in a position where I have to come in with the assist,” he reflects. “It’s almost required as a successful person—you have to give back. If you’re not giving opportunities, it’s kind of for the wrong reasons.”\u003c/p>\n\u003cp>As much as Bear loves Oakland, the sold-out kickoff show for his \u003cem>Outer Peace\u003c/em> tour at the New Parish proved that the town loves him right back. The eager audience applauded his slightly awkward dance moves, clapping along on the two and the four of almost every track.\u003c/p>\n\u003cfigure id=\"attachment_13848959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg\" alt=\"Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/toro-y-moi-live-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs live at The New Parish in Oakland on Jan. 14. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Company, Bear produces for several Oakland indie acts, including \u003ca href=\"https://tanukichan.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tanukichan\u003c/a>, \u003ca href=\"https://astronautsetc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Astronauts, etc.\u003c/a> and \u003ca href=\"https://madelinekenney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Madeline Kenney\u003c/a>. He mentors his artists on all aspects of the biz, including writing hooks, social media branding and booking shows. Unlike at a traditional label, “there’s no advance, but you get my time and my ear and my eye and we’ll make the best thing we can make,” Bear says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He’s good at putting people into contexts where they can then find their own voices, whether it’s producing a record or having them on for a tour,” says Astronauts, etc.’s Anthony Ferraro, who is also Bear’s touring keyboardist and has his own studio at Company HQ. “He’s a really good enabler. He has an intuition for that sort of thing.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Though Bear bases most of his collaborations on friendship, he ultimately sees Company as a business. To hang with his crew, you can’t be a purist with too many misgivings about “selling out,” nor harbor too many romantic aspirations of art existing outside of the market. For example, while many in the Bay Area’s creative scene bristle at mentions of the tech industry—a primary driver of gentrification and displacement in the region—Bear is quick to cite Instagram as a source of inspiration for his interdisciplinary curation at Company.\u003c/p>\n\u003cp>“D.I.Y. is great, but we also want it to pay for itself,” he says. “It’s hard to make that first jump as an artist, to put yourself out there and really sell it, do the interviews and brand your image, to go from playing house shows to being at The Fillmore.”\u003c/p>\n\u003cp>For instance, Salami Rose Joe Louis, one of his opening acts for his \u003cem>Outer Peace\u003c/em> tour (which kicked off Jan. 14 in Oakland), played the local house-show circuit as recently as six months ago. After they opened for Toro y Moi at The Novo, a 2,400-capacity club in Los Angeles, Bear remembers telling the band: “I’m sure you guys must be feeling crazy right now, but we’re really putting Oakland on.”\u003c/p>\n\u003cp>As much as he’s thrived on a D.I.Y. approach, Bear’s eventual goal is to own the Company Records building and build a more permanent infrastructure that includes a staff. Basically, he’s trying to implement the lessons he learned from hanging with Diddy on that boat off the Miami coast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The knowledge I got from hanging out with artists who are bigger than me or more successful—you can’t read about that sort of stuff, you just have to see it,” he says. “It’s fun to see how other camps work in bigger industries, and to bring that knowledge back down to the indie scene is valuable.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>[contextly_sidebar id=”E8dcgti8t3snQOl5snGiGnYKvBvvpBDH”]\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Russian authorities tolerated the music videos of \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">zombie babushkas\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zf99kdFw9b8&index=1&list=RDzf99kdFw9b8\">gothic maidens\u003c/a>, even as the ghoulish songs racked up millions of hits on YouTube. But when the Moscow-based electronic music duo IC3PEAK ventured into politics with their latest track, “\u003ca href=\"https://www.youtube.com/watch?v=MBG3Gdt5OGs\">Death No More\u003c/a>,” trouble began.\u003c/p>\n\u003cp>“In my gold chains, I’m drowning in this swamp,” Kreslina sings. “My blood is purer than the purest drugs.”\u003c/p>\n\u003cp>In the comically macabre video, lead singer Anastasiya Kreslina describes setting herself on fire on the steps of a Russian government building, indulges in a piece of raw meat at Vladimir Lenin’s tomb and plays patty-cake with her partner, Nikolai Kostylev, while they sit on the shoulders of two riot policemen in front of the Lubyanka secret police headquarters.\u003c/p>\n\u003cp>The members of IC3PEAK (pronounced “ice peak”), who describe their work as “audiovisual terror,” had crossed a line.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"IC3PEAK - Смерти Больше Нет\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/MBG3Gdt5OGs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In December of 2018, when Kreslina and Kostylev, both in their mid-twenties, arrived in the Siberian city of Novosibirsk to give a concert, police detained them right at the train station. No charges were pressed, but the pair was held long enough to miss their gig.\u003c/p>\n\u003cp>Half of IC3PEAK’s concerts on the duo’s last tour through the Russian provinces ended up being cancelled after pressure from local authorities.\u003c/p>\n\u003cp>The crackdown on a new generation of Russian musicians began in late November of 2018, when Dmitry Kuznetsov, a 25-year-old rapper known as \u003ca href=\"https://www.youtube.com/watch?v=xUCjugNH1BI\">Husky\u003c/a>, was \u003ca href=\"https://www.bbc.com/news/world-europe-46309271\">prevented from performing\u003c/a> in the southern city of Krasnodar and arrested. His arrest set off a wave of protest by fellow rappers that eventually came to the attention of Russian President \u003ca href=\"https://www.npr.org/tags/291193893/president-vladimir-putin\">Vladimir Putin\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13848940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe\" alt=\"Last December, IC3PEAK's Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1200x675.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1920x1080.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-1180x664.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-960x540.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-240x135.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-375x211.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723-520x292.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ic3peak_wide-178841e24789a54ca826d31efb610aff6a867723.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last December, IC3PEAK’s Nikolai Kostylev (left) and Anastasiya Kreslina (right) arrived in the Siberian city of Novosibirsk to give a concert, only to be detained by the police. \u003ccite>(Lucian Kim/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kreslina of IC3PEAK says the government lacks a sense of humor. She says their scandalous new video is essentially political satire.\u003c/p>\n\u003cp>“It’s a descriptive video, we’re not revealing anything new in it,” she says. “We’re just saying out loud what people would like to say but are afraid to. We’re describing the state of mind of a person of our generation, who really has nothing to look forward to and can’t expect any changes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Kostylev says that young people who may not have cared about politics before are now paying attention because their music is being targeted.\u003c/p>\n\u003cp>At the heart of the generational clash is the digital connectivity of Russian youth versus the largely offline existence of their elders, who spent their formative years in the Soviet Union, where the government controlled everything from the way young people dressed to the kind of music they listened to.\u003c/p>\n\u003cp>“We all watch YouTube, listen to the same American rappers and follow the same TV shows,” Kostylev says. “We have a lot in common with people our age around the world. I’m more like some guy my age in Mexico than my neighbor who’s two generations older.”\u003c/p>\n\u003cp>Kostylev might as well have been speaking about Putin, who is 66 and famously analog.\u003c/p>\n\u003cp>The president made his first comment on the banned concerts during a meeting with cultural leaders \u003ca href=\"https://www.bbc.com/news/world-europe-46584554\">last month\u003c/a>. “Rap and other modern [forms of art] are rested upon three pillars: sex, drugs and protest,” Putin said, going on to explain that simply banning concerts would be counterproductive, but that the government’s job is to lead youth culture.\u003c/p>\n\u003cp>“If it’s not possible to stop something, then you have to lead and guide it,” Putin said. “The worst you can do is suppress it, because you’ll get exactly the opposite effect.”\u003c/p>\n\u003cp>How to deal with the first generation of Russians born after the collapse of communism is a growing headache for the Kremlin. While older generations still watch state-run TV channels, young people are increasingly forming their views and expectations via the Internet.\u003c/p>\n\u003cp>Two years ago, Russians were surprised when young protesters turned out in masses for anti-government demonstrations, called for by opposition leader \u003ca href=\"https://www.npr.org/tags/203276320/alexei-navalny\">Alexei Navalny\u003c/a>, who communicates directly with his supporters via YouTube and Twitter.\u003c/p>\n\u003cp>“Many young Russians are alienated because they feel their government doesn’t respect their rights and is limiting their opportunities,” says Yelena Omelchenko, a sociologist at the Higher School of Economics in St. Petersburg.\u003c/p>\n\u003cp>Omelchenko believes there’s been a breakdown in communication.\u003c/p>\n\u003cp>“[It’s] as if there were two parallel worlds,” she explains. “The government still follows a post-Soviet policy of regulation and tries to control processes which are pointless to try to control.”\u003c/p>\n\u003cp>Omelchenko’s research shows that young people in Russia’s largest cities are already culturally oriented toward Western Europe and follow global trends. “Attempts to regulate Russia’s youth culture are bound to fail,” she says. “Because it is too diverse and beyond any control.”\u003c/p>\n\u003cp>Kostylev can confirm that observation after the outpouring of support when their concerts were cancelled. “We returned home from our last tour with new inspiration,” he said. “Our fans really want to do something and change something for the better.”\u003c/p>\n\u003cp>The duo doesn’t want to reveal whether their next video will touch on politics again. “No, it could be something really nice and bright,” Kreslina says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“With kittens and little kids and Putin as the sun,” Kostylev adds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Young+Russian+Musicians+Struggle+Under+Government+Scrutiny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Inside Bandcamp's New Oakland Venue, Record Shop and Office",
"headTitle": "Inside Bandcamp’s New Oakland Venue, Record Shop and Office | KQED",
"content": "\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”Fvfgs9Is4O4OtZTWCa989C6iCgbQlW7M”]\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\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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"onourwatch": {
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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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},
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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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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