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"content": "\u003cp>\u003cem>\u003cstrong>This was originally published April 27, 2018.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>High school is full of distractions: homework, college applications, dating, friends.\u003c/p>\n\u003cp>But for Joe Fifita and his cousin, Moala Tautuaa, both 18, there’s only music — and it’s been this way ever since they were little, growing up next door to each other in Tonga.\u003c/p>\n\u003cp>They talked to us as part of \u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">KQED’s Youth Takeover week\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11664103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11664103\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30463_IMG_3072-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moala Tautuaa and Joe Fifita (first and second from left) were born in the United States, but grew up in Tonga. \u003ccite>(Courtesy of Moala Tautuaa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cousins are seniors at Menlo-Atherton High School, near Palo Alto. Tautuaa looks like the kind of guy who would bury you in a bear hug; he plays football and has a big smile. Fifita is shorter and speaks softly, except when egged on by his cousin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cousins consider themselves more like brothers.\u003c/p>\n\u003cp>They were both born in the United States, but they grew up in Tonga. Tautuaa talks about how Fifita helped him acclimate to the island when he first moved there, and how when Fifita can’t think of the right word in English, Tautuaa often translates for him.\u003c/p>\n\u003cp>“No matter if there’s trouble, he always steps up for me,” Fifita says proudly. “And I always step up for him.”\u003c/p>\n\u003cfigure id=\"attachment_11664105\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11664105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After high school, Joe Fifita wants to join the Marines. Moala Tautuaa (front) has hopes of playing college football. \u003ccite>(Courtesy of Moala Tautuaa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they’ve been singing and playing music for as long as they can remember.\u003c/p>\n\u003cp>In Tonga, they attended Tupou College in Toloa and joined the choir in the Free Wesleyan Church of Tonga.\u003c/p>\n\u003cp>Tautuaa says singing in the church choir taught them everything they know about melodies and harmonies.\u003c/p>\n\u003cp>“The kids, we sit in the front and then on the row next to us are all the men. And when we listen to them harmonize … it clicks,” he explains.\u003c/p>\n\u003cp>“And listening to them is like a dictionary for us. It’s like we define every single note when we’re young, and just build on it as we get older.”\u003c/p>\n\u003cp>In addition to singing hymns at church, the two spend a lot of time making beats and writing their own songs.\u003c/p>\n\u003cp>“We mostly talk about, you know, life … just like reading a story,” Fifita says of their original songs, which are usually him rapping over Tautuaa beat-boxing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">Youth Takeover of KQED News\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/education/wp-content/uploads/sites/38/2018/04/Youth-Takeover-image-2.png\">\u003c/a>\u003c/figure>\n\u003cp>Youth are taking over KQED! From April 23 – 27, KQED programs will feature stories pitched, produced and reported by youth from Bay Area high schools. Participating programs include \u003ca href=\"https://www.kqed.org/news/program/the-california-report\" target=\"_blank\" rel=\"noopener\">The California Report\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UC4K10PNjqgGLKA3lo5V8KdQ\" target=\"_blank\" rel=\"noopener\">Above the Noise\u003c/a>, \u003ca href=\"https://www.kqed.org/perspectives\" target=\"_blank\" rel=\"noopener\">Perspectives\u003c/a> and \u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>.\u003c/p>\n\u003c/aside>\n\u003cp>“Talking about growing up in a poor family and stuff like that, and how we got here in America, life and education.”\u003c/p>\n\u003cp>It’s clear that to them music isn’t just an extracurricular activity. They say it makes them better people, better athletes, better students, better friends. And it also keeps them safe.\u003c/p>\n\u003cp>“I think music definitely helps us not do the bad stuff … it keeps us off the streets,” Tautuaa reflects. “It separates us from all the other, you know, drugs, shootings, massive chaos … it just humbles us.”\u003c/p>\n\u003cp>Fifita agrees: “Music is like a spirit that comes through my mind, and it gives me good ideas. It helps me a lot.”\u003c/p>\n\u003cp>So where do they see themselves in five years?\u003c/p>\n\u003cp>They toss around some ideas: setting up their own music studio, playing college football for Tautuaa, joining the Marines for Fifita.\u003c/p>\n\u003cp>But one thing is certain: Wherever they are, they’ll be singing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n",
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Tautuaa talks about how Fifita helped him acclimate to the island when he first moved there, and how when Fifita can’t think of the right word in English, Tautuaa often translates for him.\u003c/p>\n\u003cp>“No matter if there’s trouble, he always steps up for me,” Fifita says proudly. “And I always step up for him.”\u003c/p>\n\u003cfigure id=\"attachment_11664105\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11664105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/RS30460_IMG_3069-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After high school, Joe Fifita wants to join the Marines. Moala Tautuaa (front) has hopes of playing college football. \u003ccite>(Courtesy of Moala Tautuaa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And they’ve been singing and playing music for as long as they can remember.\u003c/p>\n\u003cp>In Tonga, they attended Tupou College in Toloa and joined the choir in the Free Wesleyan Church of Tonga.\u003c/p>\n\u003cp>Tautuaa says singing in the church choir taught them everything they know about melodies and harmonies.\u003c/p>\n\u003cp>“The kids, we sit in the front and then on the row next to us are all the men. And when we listen to them harmonize … it clicks,” he explains.\u003c/p>\n\u003cp>“And listening to them is like a dictionary for us. It’s like we define every single note when we’re young, and just build on it as we get older.”\u003c/p>\n\u003cp>In addition to singing hymns at church, the two spend a lot of time making beats and writing their own songs.\u003c/p>\n\u003cp>“We mostly talk about, you know, life … just like reading a story,” Fifita says of their original songs, which are usually him rapping over Tautuaa beat-boxing.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">Youth Takeover of KQED News\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://ww2.kqed.org/education/2018/04/18/youth-takeover-of-kqed-news-starts-april-23/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/education/wp-content/uploads/sites/38/2018/04/Youth-Takeover-image-2.png\">\u003c/a>\u003c/figure>\n\u003cp>Youth are taking over KQED! From April 23 – 27, KQED programs will feature stories pitched, produced and reported by youth from Bay Area high schools. Participating programs include \u003ca href=\"https://www.kqed.org/news/program/the-california-report\" target=\"_blank\" rel=\"noopener\">The California Report\u003c/a>, \u003ca href=\"https://www.youtube.com/channel/UC4K10PNjqgGLKA3lo5V8KdQ\" target=\"_blank\" rel=\"noopener\">Above the Noise\u003c/a>, \u003ca href=\"https://www.kqed.org/perspectives\" target=\"_blank\" rel=\"noopener\">Perspectives\u003c/a> and \u003ca href=\"https://www.kqed.org/news/program/kqed-newsroom/\" target=\"_blank\" rel=\"noopener\">KQED Newsroom\u003c/a>.\u003c/p>\n\u003c/aside>\n\u003cp>“Talking about growing up in a poor family and stuff like that, and how we got here in America, life and education.”\u003c/p>\n\u003cp>It’s clear that to them music isn’t just an extracurricular activity. They say it makes them better people, better athletes, better students, better friends. And it also keeps them safe.\u003c/p>\n\u003cp>“I think music definitely helps us not do the bad stuff … it keeps us off the streets,” Tautuaa reflects. “It separates us from all the other, you know, drugs, shootings, massive chaos … it just humbles us.”\u003c/p>\n\u003cp>Fifita agrees: “Music is like a spirit that comes through my mind, and it gives me good ideas. It helps me a lot.”\u003c/p>\n\u003cp>So where do they see themselves in five years?\u003c/p>\n\u003cp>They toss around some ideas: setting up their own music studio, playing college football for Tautuaa, joining the Marines for Fifita.\u003c/p>\n\u003cp>But one thing is certain: Wherever they are, they’ll be singing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” [contextly_sidebar id=”3hSiRLx6iX9S4ZbNYwE6IbbPJHTFlMvM”]\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. [contextly_sidebar id=”8Eta5q50BLJiUZ7TQTyOAgSjm64mk2jG”]\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>[vimeo 278727750 w=640 h=360]\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>Former President Barack Obama continued a tradition of sharing his favorite books, films and music of the year Friday, including several works by artists from the Bay Area. \u003c/p>\n\u003cp>“It gives me a moment to pause and reflect on the year through the books, movies, and music that I found most thought-provoking, inspiring, or just plain loved,” he wrote in a Facebook post. “It also gives me a chance to highlight talented authors, artists, and storytellers – some who are household names and others who you may not have heard of before.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the books section of the list, Obama included Tommy Orange’s debut novel \u003cem>There There\u003c/em>, which follows a cast of Native American characters as their lives converge on a powwow at the Oakland Coliseum; and Oakland-based \u003cem>Mother Jones\u003c/em> reporter Shane Bauer’s \u003cem>American Prison\u003c/em>, an account of his time working at a privately-run prison in Louisiana alongside the history of for-profit incarceration in the United States. \u003c/p>\n\u003cp>For movies, meanwhile, Obama plugged \u003cem>Blindspotting\u003c/em>, an Oakland-set and filmed tale of gentrification and police violence co-starring and written by \u003cem>Hamilton\u003c/em> star Daveed Diggs and spoken-word artist Rafael Casal. Ryan Coogler’s box-office smash \u003cem>Black Panther\u003c/em>, which begins and ends with scenes set in Oakland, also received Obama’s stamp of approval. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Of the 22 songs on Obama’s list of favorite music, only Vallejo-raised H.E.R.’s R&B slow-burner “Could’ve Been” represents the Bay Area. As the singer reacted to Obama’s endorsement on Twitter, “Look mama I made it!”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://www.kqed.org/arts/13846501/sorry-to-bother-you-blindspotting-shut-out-of-golden-globe-nominations\">Golden Globe nominations\u003c/a>, Oakland artist Boots Riley’s pro-labor comedy \u003cem>Sorry to Bother You\u003c/em> was shut out of Obama’s list. \u003c/p>\n\u003cp>Find Obama’s entire year-end list \u003ca href=\"https://www.facebook.com/barackobama/posts/10156393283416749?__tn__=K-R\">here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Hip-Hop Deserves That Respect': Honoring The Notorious B.I.G., Wu-Tang Clan In NYC",
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"content": "\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>[contextly_sidebar id=”c94twHpYaF7reY50N9dYCnN6PviXgxqW”]\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a certain sense of dismissal for hip hop historically… they think it’s not worthy of being recognized of the recognition that you would give to classical music or jazz or rock and roll,” McCarthy says. “Hip-hop deserves that respect.”\u003c/p>\n\u003cp>[contextly_sidebar id=”cDnlVeMgAiiQ11zXP5wBivVqfQPiZKcc”]\u003c/p>\n\u003cp>This isn’t McCarthy’s first time pushing for recognition of hip-hop in public space. He also led the naming of Sylvia Robinson Place in New Jersey, which is dedicated to the founder of Sugar Hill Records, as well as Malik “Phife Dawg” Taylor Way in New York, which recognizes the late member of a Tribe Called Quest.\u003c/p>\n\u003cp>https://www.instagram.com/p/pPWUOuyjdZ/\u003c/p>\n\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>[contextly_sidebar id=”lFyO9BY6oSVY6kymfPE5sxToFHKjEonR”]\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a certain sense of dismissal for hip hop historically… they think it’s not worthy of being recognized of the recognition that you would give to classical music or jazz or rock and roll,” McCarthy says. “Hip-hop deserves that respect.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This isn’t McCarthy’s first time pushing for recognition of hip-hop in public space. He also led the naming of Sylvia Robinson Place in New Jersey, which is dedicated to the founder of Sugar Hill Records, as well as Malik “Phife Dawg” Taylor Way in New York, which recognizes the late member of a Tribe Called Quest.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans have been anxiously awaiting Jordan Peele’s next film since the runaway success of 2017’s satirical horror flick \u003cem>Get Out\u003c/em>, and they got their wish on Christmas Day, when the trailer for Peele’s next movie, \u003cem>Us\u003c/em>, premiered.\u003c/p>\n\u003cp>About a family whose vacation to the Santa Cruz Beach Boardwalk gets derailed by zombie-like doppelgangers, the\u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA&t=2s\" target=\"_blank\" rel=\"noopener\"> trailer\u003c/a> doesn’t reveal the twists Peele undoubtedly has in store. But the guiding motif is Luniz’ 1995 hit “\u003ca href=\"https://www.youtube.com/watch?v=ERtkpnXLrL4\" target=\"_blank\" rel=\"noopener\">I Got Five On It\u003c/a>” from the Oakland duo’s platinum album, \u003cem>Operation Stackola\u003c/em>. The stoner anthem gets an eerie remix, transforming into a high-stakes horror score with spine-tingling strings and thundering, atmospheric bass. [contextly_sidebar id=”WDbc6WgQo3VoKOMFfugoWagim8r5vVTq”]\u003c/p>\n\u003cp>“We hit ’em again,” wrote Luniz’ Numskull on \u003ca href=\"https://www.instagram.com/p/Br0VAkdgN9y/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> when the trailer came out. “You can’t stop a classic.”\u003c/p>\n\u003cp>Peele’s inventive soundtrack choice comes at the end of an unprecedented year for black Bay Area artists in Hollywood, with the success of Ryan Coogler’s \u003cem>Black Panther\u003c/em> and Boots Riley’s \u003cem>Sorry to Bother You\u003c/em>, both set in Oakland. (Peele is from New York, but his wife, comedian Chelsea Peretti, is from Oakland like Riley and Coogler.)\u003c/p>\n\u003cp>We’ll have to wait until \u003cem>Us\u003c/em> comes out in theaters on Mar. 15 to see how this foreboding flip of Luniz’ Town classic factors into Peele’s latest production.\u003c/p>\n\u003cp>https://youtu.be/hNCmb-4oXJA\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fans have been anxiously awaiting Jordan Peele’s next film since the runaway success of 2017’s satirical horror flick \u003cem>Get Out\u003c/em>, and they got their wish on Christmas Day, when the trailer for Peele’s next movie, \u003cem>Us\u003c/em>, premiered.\u003c/p>\n\u003cp>About a family whose vacation to the Santa Cruz Beach Boardwalk gets derailed by zombie-like doppelgangers, the\u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA&t=2s\" target=\"_blank\" rel=\"noopener\"> trailer\u003c/a> doesn’t reveal the twists Peele undoubtedly has in store. But the guiding motif is Luniz’ 1995 hit “\u003ca href=\"https://www.youtube.com/watch?v=ERtkpnXLrL4\" target=\"_blank\" rel=\"noopener\">I Got Five On It\u003c/a>” from the Oakland duo’s platinum album, \u003cem>Operation Stackola\u003c/em>. The stoner anthem gets an eerie remix, transforming into a high-stakes horror score with spine-tingling strings and thundering, atmospheric bass. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We hit ’em again,” wrote Luniz’ Numskull on \u003ca href=\"https://www.instagram.com/p/Br0VAkdgN9y/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> when the trailer came out. “You can’t stop a classic.”\u003c/p>\n\u003cp>Peele’s inventive soundtrack choice comes at the end of an unprecedented year for black Bay Area artists in Hollywood, with the success of Ryan Coogler’s \u003cem>Black Panther\u003c/em> and Boots Riley’s \u003cem>Sorry to Bother You\u003c/em>, both set in Oakland. (Peele is from New York, but his wife, comedian Chelsea Peretti, is from Oakland like Riley and Coogler.)\u003c/p>\n\u003cp>We’ll have to wait until \u003cem>Us\u003c/em> comes out in theaters on Mar. 15 to see how this foreboding flip of Luniz’ Town classic factors into Peele’s latest production.\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/hNCmb-4oXJA'\n title='//www.youtube.com/embed/hNCmb-4oXJA'\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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"title": "The Meters' Zigaboo Modeliste, Funk Luminary, Celebrates 70 at Freight & Salvage",
"headTitle": "The Meters’ Zigaboo Modeliste, Funk Luminary, Celebrates 70 at Freight & Salvage | KQED",
"content": "\u003cp>Living in the Bay Area means that strolling into a bar, cafe or restaurant can offer an unwitting encounter with musical genius. It’s not unusual to discover an illustrious player performing in an unheralded setting. (Pioneering salsa percussionist Louie Romero can be found playing at the Mission District’s \u003ca href=\"http://www.revolutioncafesf.com/\" target=\"_blank\" rel=\"noopener\">Revolution Café\u003c/a> every Monday, for instance.) Back in the mid ’90s, Pier 23 was the spot for \u003ca href=\"http://www.zigaboo.com/\">Zigaboo Modeliste\u003c/a>, who turned the bayside venue into his home base while he established himself as a bandleader with a long-running Sunday residency.\u003c/p>\n\u003cp>The New Orleans drummer co-founded The Meters as a teenager in 1965 and designed the sinewy, distilled second-line grooves that have been endlessly recycled, imitated and sampled ever since. As the rhythmic architect and co-composer of signature tunes like “\u003ca href=\"https://www.youtube.com/watch?v=MXI5Nuz6OHg\" target=\"_blank\" rel=\"noopener\">Cissy Strut\u003c/a>,” “\u003ca href=\"https://youtu.be/kYfCTHf2ne4\" target=\"_blank\" rel=\"noopener\">Look-Ka Py Py\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=TTlENVT12xY\" target=\"_blank\" rel=\"noopener\">Chicken Strut\u003c/a>,” Modeliste created a body of work that paved the way to a Grammy Lifetime Achievement Award for his band last February. (The Rock & Roll Hall of Fame is still unaccountably sleeping on The Meters.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mTy1cIuihLs\u003c/p>\n\u003cp>Berkeley’s Freight & Salvage celebrates \u003ca href=\"https://www.thefreight.org/event/1773319-zigaboo-modelistes-birthday-berkeley/\" target=\"_blank\" rel=\"noopener\">Modeliste’s 70th birthday\u003c/a> on Friday, Dec. 28, with his New Aahkesstra and special guest George Porter Jr., the bassist for The Meters. It’s the latest sign that the Bay Area has provided a welcoming platform for the drummer’s second act after he spent nearly a decade in the Los Angeles wilderness following the dissolution of The Meters in the late 1970s.\u003c/p>\n\u003cp>“I had a tremendous start here from the ground up at Pier 23,” says Modeliste from his home in Oakland. “It was something we looked forward to doing every week. From there it blossomed into doing other things—a bunch of private parties, some festivals. Most of the people I played for at Pier 23 are married now and have kids. My wife Kathy started this deal, Funkify Your Kids—matinee shows where I’m playing for their children. You never know where music is going to take you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Modeliste’s insistent grooves have taken him around the world, while providing fellow musicians with a seemingly bottomless pocket of funk. A short and far-from-complete list of acts that have sampled his Meters beats include A Tribe Called Quest, N.W.A., Ice Cube, Scarface, Cypress Hill, Public Enemy, The Beastie Boys, Naughty by Nature, Heavy D and Big Daddy Kane. Harry Duncan, the funk aficionado and KCSM DJ who’ll be spinning records at the Freight show, describes The Meters “as essential to the evolution of funk as, say, the classic John Coltrane Quartet was to jazz or the ’50’s Muddy Waters band was to Chicago blues.” He attributes this influence to Modeliste, “an often-imitated, never duplicated musician’s musician.”\u003c/p>\n\u003cp>Grateful Dead drummer Mickey Hart remembers intensively studying Dr. John’s classic 1974 album \u003cem>Desitively Bonnaroo\u003c/em> (Atco), which features The Meters as the primary band. “I listened to that over and over just to get the feeling that he lays down,” Hart says. “He’s simply one of the best drummers that have ever walked this Earth. He’s not about the solo, but in the world of the groove, he rules. I just played with him recently and the feeling he has is like a river. It’s fluid, liquid.”\u003c/p>\n\u003cp>Coming up on the New Orleans scene in the early 1960s, Modeliste spent countless hours woodshedding with George Porter Jr., his cousin. When it came to studying seminal Crescent City drum masters like Idris Muhammad, Earl Palmer, James Black, Smokey Johnson, John Boudreaux and June Gardner, he was pretty much on his own. In a scene where individuality was prized, established players were often reluctant to share information.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4ECDgJNNoKk\u003c/p>\n\u003cp>“Nobody wanted to teach me anything,” he recalls. “Anything you had to learn, you had to make sure you were looking at the person doing it. You had to go see other people play and figure out how they fit into that universe. When I started gigging, I was always with older musicians, and they were into Coltrane, Ahmad Jamal, Clifford Brown and Max Roach. You get on the bandstand and before you go into any other routine you had to play some jazz. If they called a song and you didn’t know it, they talked about you so bad.”\u003c/p>\n\u003cp>Modeliste is loath to talk smack about anyone, carrying himself with the soft-spoken style of a Southern gentleman. While he does give the occasional master class, he usually parries the frequent requests he gets for lessons. Rather than teaching, he prefers to lead by example. For young musicians who want to immerse themselves in his music, the recordings offer a universe of rhythmic information.\u003c/p>\n\u003cp>Berkeley drummer Scott Amendola, who infuses jazz settings with a finely honed palette of grooves, encountered The Meters in college. Modeliste’s highly personal approach to second line beats shaped his sense of rhythmic possibilities, options that surfaced most conspicuously on the 1996 Charlie Hunter Quartet album \u003cem>Ready…Set…Shango!\u003c/em> (Blue Note).\u003c/p>\n\u003cp>“I practiced to Zig for countless hours and weeks and years,” says Amendola, who follows Modeliste into the Freight on Feb. 4 for his \u003ca href=\"https://www.thefreight.org/event/1777269-scott-amendolas-50th-birthday-berkeley/\" target=\"_blank\" rel=\"noopener\">50th birthday celebration\u003c/a>. “The way he danced around the two and four and made it sound so good and so interesting. His sound is so powerful and freeing. He showed how you can put so much personality into a beat.”\u003c/p>\n\u003cp>While Modeliste is fully aware of his enduring influence, he’s not one to brag on himself. Maybe it’s the way that The Meters have never quite received their due despite influencing so many better-known acts. Eventually, the Rock and Roll Hall of Fame will come calling (they’ve been nominated several times already). And in the meantime, the Lifetime Achievement Grammy Award caught Modeliste by surprise, though he’s not ready to put away his sticks.\u003c/p>\n\u003cp>“It blindsided me,” he says. “I never expected that. I’m elated the trail we blazed was not for nothing at all. The Lifetime Award is about a body of work and influence, and I cherish that. I’m hoping the music we put down can be used in a positive way forever. Maybe if I’m lucky, I may get another.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Zigaboo Modeliste performs at Freight & Salvage on Dec. 28. Details \u003ca href=\"https://www.thefreight.org/event/1773319-zigaboo-modelistes-birthday-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Living in the Bay Area means that strolling into a bar, cafe or restaurant can offer an unwitting encounter with musical genius. It’s not unusual to discover an illustrious player performing in an unheralded setting. (Pioneering salsa percussionist Louie Romero can be found playing at the Mission District’s \u003ca href=\"http://www.revolutioncafesf.com/\" target=\"_blank\" rel=\"noopener\">Revolution Café\u003c/a> every Monday, for instance.) Back in the mid ’90s, Pier 23 was the spot for \u003ca href=\"http://www.zigaboo.com/\">Zigaboo Modeliste\u003c/a>, who turned the bayside venue into his home base while he established himself as a bandleader with a long-running Sunday residency.\u003c/p>\n\u003cp>The New Orleans drummer co-founded The Meters as a teenager in 1965 and designed the sinewy, distilled second-line grooves that have been endlessly recycled, imitated and sampled ever since. As the rhythmic architect and co-composer of signature tunes like “\u003ca href=\"https://www.youtube.com/watch?v=MXI5Nuz6OHg\" target=\"_blank\" rel=\"noopener\">Cissy Strut\u003c/a>,” “\u003ca href=\"https://youtu.be/kYfCTHf2ne4\" target=\"_blank\" rel=\"noopener\">Look-Ka Py Py\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=TTlENVT12xY\" target=\"_blank\" rel=\"noopener\">Chicken Strut\u003c/a>,” Modeliste created a body of work that paved the way to a Grammy Lifetime Achievement Award for his band last February. (The Rock & Roll Hall of Fame is still unaccountably sleeping on The Meters.)\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/mTy1cIuihLs'\n title='//www.youtube.com/embed/mTy1cIuihLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Berkeley’s Freight & Salvage celebrates \u003ca href=\"https://www.thefreight.org/event/1773319-zigaboo-modelistes-birthday-berkeley/\" target=\"_blank\" rel=\"noopener\">Modeliste’s 70th birthday\u003c/a> on Friday, Dec. 28, with his New Aahkesstra and special guest George Porter Jr., the bassist for The Meters. It’s the latest sign that the Bay Area has provided a welcoming platform for the drummer’s second act after he spent nearly a decade in the Los Angeles wilderness following the dissolution of The Meters in the late 1970s.\u003c/p>\n\u003cp>“I had a tremendous start here from the ground up at Pier 23,” says Modeliste from his home in Oakland. “It was something we looked forward to doing every week. From there it blossomed into doing other things—a bunch of private parties, some festivals. Most of the people I played for at Pier 23 are married now and have kids. My wife Kathy started this deal, Funkify Your Kids—matinee shows where I’m playing for their children. You never know where music is going to take you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Modeliste’s insistent grooves have taken him around the world, while providing fellow musicians with a seemingly bottomless pocket of funk. A short and far-from-complete list of acts that have sampled his Meters beats include A Tribe Called Quest, N.W.A., Ice Cube, Scarface, Cypress Hill, Public Enemy, The Beastie Boys, Naughty by Nature, Heavy D and Big Daddy Kane. Harry Duncan, the funk aficionado and KCSM DJ who’ll be spinning records at the Freight show, describes The Meters “as essential to the evolution of funk as, say, the classic John Coltrane Quartet was to jazz or the ’50’s Muddy Waters band was to Chicago blues.” He attributes this influence to Modeliste, “an often-imitated, never duplicated musician’s musician.”\u003c/p>\n\u003cp>Grateful Dead drummer Mickey Hart remembers intensively studying Dr. John’s classic 1974 album \u003cem>Desitively Bonnaroo\u003c/em> (Atco), which features The Meters as the primary band. “I listened to that over and over just to get the feeling that he lays down,” Hart says. “He’s simply one of the best drummers that have ever walked this Earth. He’s not about the solo, but in the world of the groove, he rules. I just played with him recently and the feeling he has is like a river. It’s fluid, liquid.”\u003c/p>\n\u003cp>Coming up on the New Orleans scene in the early 1960s, Modeliste spent countless hours woodshedding with George Porter Jr., his cousin. When it came to studying seminal Crescent City drum masters like Idris Muhammad, Earl Palmer, James Black, Smokey Johnson, John Boudreaux and June Gardner, he was pretty much on his own. In a scene where individuality was prized, established players were often reluctant to share information.\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/4ECDgJNNoKk'\n title='//www.youtube.com/embed/4ECDgJNNoKk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Nobody wanted to teach me anything,” he recalls. “Anything you had to learn, you had to make sure you were looking at the person doing it. You had to go see other people play and figure out how they fit into that universe. When I started gigging, I was always with older musicians, and they were into Coltrane, Ahmad Jamal, Clifford Brown and Max Roach. You get on the bandstand and before you go into any other routine you had to play some jazz. If they called a song and you didn’t know it, they talked about you so bad.”\u003c/p>\n\u003cp>Modeliste is loath to talk smack about anyone, carrying himself with the soft-spoken style of a Southern gentleman. While he does give the occasional master class, he usually parries the frequent requests he gets for lessons. Rather than teaching, he prefers to lead by example. For young musicians who want to immerse themselves in his music, the recordings offer a universe of rhythmic information.\u003c/p>\n\u003cp>Berkeley drummer Scott Amendola, who infuses jazz settings with a finely honed palette of grooves, encountered The Meters in college. Modeliste’s highly personal approach to second line beats shaped his sense of rhythmic possibilities, options that surfaced most conspicuously on the 1996 Charlie Hunter Quartet album \u003cem>Ready…Set…Shango!\u003c/em> (Blue Note).\u003c/p>\n\u003cp>“I practiced to Zig for countless hours and weeks and years,” says Amendola, who follows Modeliste into the Freight on Feb. 4 for his \u003ca href=\"https://www.thefreight.org/event/1777269-scott-amendolas-50th-birthday-berkeley/\" target=\"_blank\" rel=\"noopener\">50th birthday celebration\u003c/a>. “The way he danced around the two and four and made it sound so good and so interesting. His sound is so powerful and freeing. He showed how you can put so much personality into a beat.”\u003c/p>\n\u003cp>While Modeliste is fully aware of his enduring influence, he’s not one to brag on himself. Maybe it’s the way that The Meters have never quite received their due despite influencing so many better-known acts. Eventually, the Rock and Roll Hall of Fame will come calling (they’ve been nominated several times already). And in the meantime, the Lifetime Achievement Grammy Award caught Modeliste by surprise, though he’s not ready to put away his sticks.\u003c/p>\n\u003cp>“It blindsided me,” he says. “I never expected that. I’m elated the trail we blazed was not for nothing at all. The Lifetime Award is about a body of work and influence, and I cherish that. I’m hoping the music we put down can be used in a positive way forever. Maybe if I’m lucky, I may get another.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Zigaboo Modeliste performs at Freight & Salvage on Dec. 28. Details \u003ca href=\"https://www.thefreight.org/event/1773319-zigaboo-modelistes-birthday-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the needle drops on an LP by Los Tigres del Norte, a group of female DJs in Oakland let out their \u003cem>gritos\u003c/em> on the dance floor. It’s their rallying cry, telling the crowd these women are here to combat gender and cultural barriers — one record at a time.\u003c/p>\n\u003cp>“I come from, like, a Mexican household where I was not allowed to go out,” says Mar Velez, who goes by the name DJ Marvelouz. Compared to her brothers, she says, she felt really restricted growing up.\u003c/p>\n\u003cp>Now, DJ Marvelouz is center stage with her arms in the air, hyping up the crowd with Kendrick Lamar’s “Loyalty.”\u003c/p>\n\u003cp>This switch from norteño to hip-hop fazes no one. Everyone continues with their best two-step. Then things start to get real sweaty. “\u003ca href=\"https://www.youtube.com/watch?v=HTXWlrkLI6g\">Quiero Bailar,\u003c/a>” by the diva of reggaeton, Ivy Queen, booms from the speakers, while the disco ball reflects off the gold hoop earrings worn by many in the crowd.\u003c/p>\n\u003cp>For people of color who feel excluded from Oakland’s changing culture, this night on the dance floor at downtown’s \u003ca href=\"https://legionnairesaloon.com/\">Legionnaire Saloon \u003c/a>gives them a space to be unapologetically themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Big shoutout to all the black and brown bodies in this building! Celebrate yourself, celebrate your worth!” shouts one DJ through the speakers.\u003c/p>\n\u003cp>There’s no dress code, no cover, no lines and zero tolerance for harassment as this collective of vinyl-loving women spins their jams: new wave, cumbia, house, soul.\u003c/p>\n\u003cp>It’s a dance party set to a bilingual soundtrack that reminds me of my childhood: chores on Saturday mornings, cruising to oldies, and dancing at quinceañera parties. As a teenager, I was embarrassed that my family only listened to funk, oldies and music in Spanish. But on tonight’s dance floor, I feel seen among other Latinx millennials who grew up like me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A version of this story originally aired on \u003ca href=\"https://www.kalw.org/post/crushing-gender-and-cultural-barriers-chulita-vinyl-club#stream/0\">KALW\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the needle drops on an LP by Los Tigres del Norte, a group of female DJs in Oakland let out their \u003cem>gritos\u003c/em> on the dance floor. It’s their rallying cry, telling the crowd these women are here to combat gender and cultural barriers — one record at a time.\u003c/p>\n\u003cp>“I come from, like, a Mexican household where I was not allowed to go out,” says Mar Velez, who goes by the name DJ Marvelouz. Compared to her brothers, she says, she felt really restricted growing up.\u003c/p>\n\u003cp>Now, DJ Marvelouz is center stage with her arms in the air, hyping up the crowd with Kendrick Lamar’s “Loyalty.”\u003c/p>\n\u003cp>This switch from norteño to hip-hop fazes no one. Everyone continues with their best two-step. Then things start to get real sweaty. “\u003ca href=\"https://www.youtube.com/watch?v=HTXWlrkLI6g\">Quiero Bailar,\u003c/a>” by the diva of reggaeton, Ivy Queen, booms from the speakers, while the disco ball reflects off the gold hoop earrings worn by many in the crowd.\u003c/p>\n\u003cp>For people of color who feel excluded from Oakland’s changing culture, this night on the dance floor at downtown’s \u003ca href=\"https://legionnairesaloon.com/\">Legionnaire Saloon \u003c/a>gives them a space to be unapologetically themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Big shoutout to all the black and brown bodies in this building! Celebrate yourself, celebrate your worth!” shouts one DJ through the speakers.\u003c/p>\n\u003cp>There’s no dress code, no cover, no lines and zero tolerance for harassment as this collective of vinyl-loving women spins their jams: new wave, cumbia, house, soul.\u003c/p>\n\u003cp>It’s a dance party set to a bilingual soundtrack that reminds me of my childhood: chores on Saturday mornings, cruising to oldies, and dancing at quinceañera parties. As a teenager, I was embarrassed that my family only listened to funk, oldies and music in Spanish. But on tonight’s dance floor, I feel seen among other Latinx millennials who grew up like me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A version of this story originally aired on \u003ca href=\"https://www.kalw.org/post/crushing-gender-and-cultural-barriers-chulita-vinyl-club#stream/0\">KALW\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'",
"title": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'",
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"content": "\u003cp>\u003cem>This story originally ran on Aug. 3, 2018. We are re-airing it as one of our favorite music stories of the year.\u003c/em>\u003c/p>\n\u003cp>More than 1,100 miles separate Downey, California and Lubbock, Texas. But for songwriters Dave Alvin and Jimmie Dale Gilmore, their hometowns have a lot in common -- culturally and geographically.\u003c/p>\n\u003cp>“They’re both flat,” Alvin says. “With big sky,” adds Gilmore.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11684511\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg\" alt=\"\" width=\"304\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut.jpg 1500w\" sizes=\"(max-width: 304px) 100vw, 304px\">Alvin, the baritone-voiced guitar slinger, was part of the early L.A. punk scene with \u003ca href=\"http://www.theblasters.com/\" target=\"_blank\" rel=\"noopener\">the Blasters\u003c/a>, the band he formed with his older brother Phil. He's got more than a dozen albums of his own. Gilmore has garnered three Grammy nominations in folk categories, and is a founder of country pioneers \u003ca href=\"http://www.theflatlanders.com/\" target=\"_blank\" rel=\"noopener\">The Flatlanders\u003c/a> (with Joe Ely and Butch Hancock). The longtime friends have teamed up on \"Downey to Lubbock,\" a collaborative album featuring a mix of original songs and covers.\u003c/p>\n\u003cp>The California Report Magazine's host Sasha Khokha talked to Alvin and Gilmore about their new record, working together and growing up around the legendary Southern California club, the Ash Grove.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This conversation has been edited for clarity and length.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SASHA KHOKHA: You guys aren't the most obvious pairing. We’ve got California meets Texas, two musicians from two different generations and different musical traditions.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JIMMIE DALE GILMORE:\u003c/strong> We’ve been very good friends for a very, very long time, but we never played music together until last year. So looking back, it’s kind of odd to me that we never thought of it before.\u003c/p>\n\u003cp>\u003cstrong>DAVE ALVIN:\u003c/strong> People say, “What an odd pairing!” Not to us, it’s completely natural. I mean an odd pairing would have been maybe me, Jimmie Dale and Bjork. Even that could have worked!\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: So you guys have been touring this summer with your new album \"Downey To Lubbock.\" How did the idea of doing an album together happen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong>We did a series of acoustic shows and it was really the first night, when we did the Youngbloods’ song “\u003ca href=\"https://youtu.be/7xGxQXmu7Os\">Get Together\u003c/a>.” Jimmie didn't tell me what song it was, he just said, “It's in G.” And I was like, “Okay, what are we playing? Here we go.” And he sang the first line and I was like “Well, we've got to make a record of this.”\u003c/p>\n\u003cp>https://youtu.be/TDPth7-Mz8g\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And during these gigs, just right away we discovered we had a whole trove of shared musical background -- stuff that we both loved when we were young and learning how to play. Because we were playing acoustic, it brought up the old folk singer and folk blues side of what I had done early on that I hadn't really touched in a really long time.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: Tell me about the title song, \"Downey To Lubbock.\" It's basically your origin stories: Blues blaster meets old flatlander.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's semi-autobiographical and metaphorical and you can dance to it. I had the idea that we should have a defining song for the record.\u003c/p>\n\u003cp>https://youtu.be/n9N3IbU4Dq4\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: It’s like the story of your two road trips through life converging on one highway\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> Downey, California and Lubbock, Texas are not that different in some ways. I remember the first time I was ever in Lubbock was around 1982, and just being struck by how similar they looked to each other and culturally, there are a lot of similarities. My hometown was in the southeast corner of Los Angeles County, which was the land of the diasporas. You had people from Texas and Louisiana, African-American and white and Hispanic. And so for me it was really easy when I was a kid to find the music that interested me because everybody that came to California brought their music with them, whether it was blues or country or whatever. So those areas were always sort of mythical promised lands to me.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> Neither one of us had realized that I had been in California when I was probably 19 or 20 and I spent some time in L.A. I used to go to the Ash Grove. It turned out that Dave and [his brother] Phil were hanging out there at the same time. They were quite a bit younger than me but we were listening to the very same music and we had that in common to draw on.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I was 10 years younger and I came up to Jimmie’s hip. Who knew that we crossed paths at the Ash Grove and then 40 years later we'd make an album together?\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: How did you guys decide what songs you wanted to cover?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> We would start each show with a song that the audience knew and we'd end the show on a song that the audience knew. But in between were just flights of fancy. And so our shows would cover everything from Lightnin’ Hopkins to Merle Haggard to Sam Cooke. And so each night was different. And so it’s sort of culled from that touring experience but it's also songs that struck some kind of emotional chord with us.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You do the \u003ca href=\"https://www.kqed.org/news/11512311/immortalized-by-woody-guthrie-deportees-who-died-in-plane-crash-are-nameless-no-longer\">Woody Guthrie song \"Deportee\"\u003c/a> about that plane wreck in Los Gatos Canyon near Fresno [that killed 28 Mexican workers in the process of being deported]. It's like a piece of history that so many Californians have forgotten. What inspired you to revive it now\u003c/strong>?\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> \"Deportee\" is a beautiful piece of work. It’s so poignant and so well done. Dave has been saying that it's one of these songs that is unfortunately, both timeless and timely.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I'm really proud of that one the way it came out. The night before we recorded I stayed up late listening to about 125 versions of \"Deportee\" because I was like, “OK we have to make it different from all of these.” And then once Jimmie Dale started singing it, I was like, “Wow, I didn't need to stay up all night listening to eight million versions of 'Deportee.'” Jimmie's got the kind of voice that says, “Here here's a new song,” even if it's 60 years old.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You guys are both solo artists. What was the most surprising thing about working and collaborating with each other? Was there anything unexpected?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> All of it, in a way, for me. We were fans of each other, but we hadn't actually played together, so discovering how much we had in common in our backgrounds was a giant surprise to me. I've been sort of typecast in one world as a country folk-y. I don't know what the word is.\u003c/p>\n\u003cp>\u003cstrong> ALVIN:\u003c/strong> Don't say Americana.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And Dave is so associated with punk with the Blasters and both of us have a lot more wide-ranging taste than people would expect of us.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's just been an absolute joy. There are no problems, there are no issues and we tend to see everything the same which makes life easy.\u003c/p>\n\u003cp>\u003cstrong>GILMORE: \u003c/strong>Dave is not only a very great guitarist and singer although he denies it; he's a very good singer. But he's also strangely enough, a very good organizer and he’s a good boss.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> When I was in the Blasters, we all grew up together. We liked to fight, that was our deal. And then one day I got sick of it and decided I'm going to work with people who I don't fight with. So that's my organizing principle.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story originally ran on Aug. 3, 2018. We are re-airing it as one of our favorite music stories of the year.\u003c/em>\u003c/p>\n\u003cp>More than 1,100 miles separate Downey, California and Lubbock, Texas. But for songwriters Dave Alvin and Jimmie Dale Gilmore, their hometowns have a lot in common -- culturally and geographically.\u003c/p>\n\u003cp>“They’re both flat,” Alvin says. “With big sky,” adds Gilmore.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11684511\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg\" alt=\"\" width=\"304\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut.jpg 1500w\" sizes=\"(max-width: 304px) 100vw, 304px\">Alvin, the baritone-voiced guitar slinger, was part of the early L.A. punk scene with \u003ca href=\"http://www.theblasters.com/\" target=\"_blank\" rel=\"noopener\">the Blasters\u003c/a>, the band he formed with his older brother Phil. He's got more than a dozen albums of his own. Gilmore has garnered three Grammy nominations in folk categories, and is a founder of country pioneers \u003ca href=\"http://www.theflatlanders.com/\" target=\"_blank\" rel=\"noopener\">The Flatlanders\u003c/a> (with Joe Ely and Butch Hancock). The longtime friends have teamed up on \"Downey to Lubbock,\" a collaborative album featuring a mix of original songs and covers.\u003c/p>\n\u003cp>The California Report Magazine's host Sasha Khokha talked to Alvin and Gilmore about their new record, working together and growing up around the legendary Southern California club, the Ash Grove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This conversation has been edited for clarity and length.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SASHA KHOKHA: You guys aren't the most obvious pairing. We’ve got California meets Texas, two musicians from two different generations and different musical traditions.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JIMMIE DALE GILMORE:\u003c/strong> We’ve been very good friends for a very, very long time, but we never played music together until last year. So looking back, it’s kind of odd to me that we never thought of it before.\u003c/p>\n\u003cp>\u003cstrong>DAVE ALVIN:\u003c/strong> People say, “What an odd pairing!” Not to us, it’s completely natural. I mean an odd pairing would have been maybe me, Jimmie Dale and Bjork. Even that could have worked!\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: So you guys have been touring this summer with your new album \"Downey To Lubbock.\" How did the idea of doing an album together happen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong>We did a series of acoustic shows and it was really the first night, when we did the Youngbloods’ song “\u003ca href=\"https://youtu.be/7xGxQXmu7Os\">Get Together\u003c/a>.” Jimmie didn't tell me what song it was, he just said, “It's in G.” And I was like, “Okay, what are we playing? Here we go.” And he sang the first line and I was like “Well, we've got to make a record of this.”\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/TDPth7-Mz8g'\n title='//www.youtube.com/embed/TDPth7-Mz8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>GILMORE:\u003c/strong> And during these gigs, just right away we discovered we had a whole trove of shared musical background -- stuff that we both loved when we were young and learning how to play. Because we were playing acoustic, it brought up the old folk singer and folk blues side of what I had done early on that I hadn't really touched in a really long time.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: Tell me about the title song, \"Downey To Lubbock.\" It's basically your origin stories: Blues blaster meets old flatlander.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's semi-autobiographical and metaphorical and you can dance to it. I had the idea that we should have a defining song for the record.\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/n9N3IbU4Dq4'\n title='//www.youtube.com/embed/n9N3IbU4Dq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>KHOKHA: It’s like the story of your two road trips through life converging on one highway\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> Downey, California and Lubbock, Texas are not that different in some ways. I remember the first time I was ever in Lubbock was around 1982, and just being struck by how similar they looked to each other and culturally, there are a lot of similarities. My hometown was in the southeast corner of Los Angeles County, which was the land of the diasporas. You had people from Texas and Louisiana, African-American and white and Hispanic. And so for me it was really easy when I was a kid to find the music that interested me because everybody that came to California brought their music with them, whether it was blues or country or whatever. So those areas were always sort of mythical promised lands to me.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> Neither one of us had realized that I had been in California when I was probably 19 or 20 and I spent some time in L.A. I used to go to the Ash Grove. It turned out that Dave and [his brother] Phil were hanging out there at the same time. They were quite a bit younger than me but we were listening to the very same music and we had that in common to draw on.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I was 10 years younger and I came up to Jimmie’s hip. Who knew that we crossed paths at the Ash Grove and then 40 years later we'd make an album together?\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: How did you guys decide what songs you wanted to cover?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> We would start each show with a song that the audience knew and we'd end the show on a song that the audience knew. But in between were just flights of fancy. And so our shows would cover everything from Lightnin’ Hopkins to Merle Haggard to Sam Cooke. And so each night was different. And so it’s sort of culled from that touring experience but it's also songs that struck some kind of emotional chord with us.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You do the \u003ca href=\"https://www.kqed.org/news/11512311/immortalized-by-woody-guthrie-deportees-who-died-in-plane-crash-are-nameless-no-longer\">Woody Guthrie song \"Deportee\"\u003c/a> about that plane wreck in Los Gatos Canyon near Fresno [that killed 28 Mexican workers in the process of being deported]. It's like a piece of history that so many Californians have forgotten. What inspired you to revive it now\u003c/strong>?\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> \"Deportee\" is a beautiful piece of work. It’s so poignant and so well done. Dave has been saying that it's one of these songs that is unfortunately, both timeless and timely.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I'm really proud of that one the way it came out. The night before we recorded I stayed up late listening to about 125 versions of \"Deportee\" because I was like, “OK we have to make it different from all of these.” And then once Jimmie Dale started singing it, I was like, “Wow, I didn't need to stay up all night listening to eight million versions of 'Deportee.'” Jimmie's got the kind of voice that says, “Here here's a new song,” even if it's 60 years old.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You guys are both solo artists. What was the most surprising thing about working and collaborating with each other? Was there anything unexpected?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> All of it, in a way, for me. We were fans of each other, but we hadn't actually played together, so discovering how much we had in common in our backgrounds was a giant surprise to me. I've been sort of typecast in one world as a country folk-y. I don't know what the word is.\u003c/p>\n\u003cp>\u003cstrong> ALVIN:\u003c/strong> Don't say Americana.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And Dave is so associated with punk with the Blasters and both of us have a lot more wide-ranging taste than people would expect of us.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's just been an absolute joy. There are no problems, there are no issues and we tend to see everything the same which makes life easy.\u003c/p>\n\u003cp>\u003cstrong>GILMORE: \u003c/strong>Dave is not only a very great guitarist and singer although he denies it; he's a very good singer. But he's also strangely enough, a very good organizer and he’s a good boss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> When I was in the Blasters, we all grew up together. We liked to fight, that was our deal. And then one day I got sick of it and decided I'm going to work with people who I don't fight with. So that's my organizing principle.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pop culture is rife with forced-feeling proclamations of wokeness, which is why Cardi B’s work and online persona often feel like a breath of fresh air. Instead of dropping the latest feminist buzzwords, she has a habit of shattering sexist stereotypes simply by being herself.\u003c/p>\n\u003cp>The latest example is her “\u003ca href=\"https://www.youtube.com/watch?v=zUOh09GoQgk\" target=\"_blank\" rel=\"noopener\">Money\u003c/a>” music video, which dropped Friday. The slightly NSFW video begins with Cardi looking poised and regal in mid-century, cabaret-inspired costuming that echoes Beyoncé’s looks in her self-titled visual album (especially “Haunted” and “Partition”). The scene quickly cuts to a series of epic costume changes and gothic interiors—including a strip club, where we see Cardi and other impressively athletic dancers in action on the pole, which was Cardi’s way of earning a living before her rise in the music industry. [contextly_sidebar id=”VJTtJrIeqsqrXqoXPcaTvPJs6Q4XwlYJ”]\u003c/p>\n\u003cp>Juxtaposed with shots of Cardi breastfeeding her infant daughter, Kulture, the strip club scenes in the “Money” video show Cardi taking ownership of her past and present, asserting that women can be both mothers and sexual, that breastfeeding in public is perfectly natural and that sex work \u003cem>is\u003c/em> work. As I \u003ca href=\"https://twitter.com/nananastia/status/1076193144520171521\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> upon seeing the “Money” video, Cardi reminds us that we truly shine when we can walk confidently as ourselves and own our experiences, despite the labels society may ascribe to them. [contextly_sidebar id=”orlYIwOI5Ktyc1W1CQQBtW4pgXZlMYkd”]\u003c/p>\n\u003cp>After dealing with a grueling two-weeks of post-\u003ca href=\"https://www.elle.com/culture/celebrities/a25409116/cardi-b-offset-divorce-announcement/\" target=\"_blank\" rel=\"noopener\">divorce announcement\u003c/a> touring—during which cheating, estranged husband Offset \u003ca href=\"https://www.washingtonpost.com/nation/2018/12/17/cardi-bs-ex-offset-crashed-her-concert-apologize-her-fans-say-it-was-toxic-harassment/?noredirect=on&utm_term=.a56262b294ae\" target=\"_blank\" rel=\"noopener\">crashed her Rolling Loud set\u003c/a> begging her to take him back—Cardi B just proved once again that she always lands on her feet.\u003c/p>\n\u003cp>https://youtu.be/zUOh09GoQgk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15396973/nancy-wilson\">Nancy Wilson\u003c/a> died Thursday after a long illness at her home in Pioneertown, Calif., her manager Devra Hall Levy told NPR. She was 81.\u003c/p>\n\u003cp>Born in Chillicothe, Ohio, in 1937, Wilson has recounted in interviews that she started singing around age 3 or 4.\u003c/p>\n\u003cp>“I have always just sung. I have never questioned what it is. I thank God for it and I just do it,” she told Marian McPartland, host of NPR’s\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=95307007\"> \u003cem>Piano Jazz \u003c/em>\u003c/a>in 1994.\u003c/p>\n\u003cp>She never had formal training but was influenced by Dinah Washington, Nat “King” Cole, and others. Wilson says she knew at an early age what she would do for a living.\u003c/p>\n\u003cp>During her decades-long career, Wilson performed jazz ballads, standards, torch songs, show tunes and pop songs. She told McPartland that she loves a song with a good story and good lyrics. A song that has a beginning, middle and an end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q9DFB0TM1h0\u003c/p>\n\u003cp>After attending Central State College in Ohio for one year, she left to pursue music full time. She had been touring continuously in her 20s when she met saxophonist Cannonball Adderley. He suggested she move to New York and in 1959 she did. Many successful singles and albums followed.\u003c/p>\n\u003cp>From 1996 through 2005, NPR listeners will remember Wilson as the host of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10208861&\">\u003cem>Jazz Profiles\u003c/em>\u003c/a>, a documentary series that profiled the legends and legacy of jazz. More than 190 episodes were produced.\u003c/p>\n\u003cp>In the interview on \u003cem>Piano Jazz\u003c/em>, McPartland described Wilson as a multi-talented entertainer. She didn’t just sing, Wilson made guest appearances on TV variety programs and acted in several TV series.\u003c/p>\n\u003cp>As \u003ca href=\"https://variety.com/2018/music/news/jazz-singer-nancy-wilson-dies-1203089722/\">Variety reports\u003c/a>: Wilson may be remembered by millions of TV viewers who recall her 1974-75 NBC variety series, “The Nancy Wilson Show,” for which she won an Emmy. She was frequently a guest herself on the variety shows hosted by Carol Burnett, Andy Williams and Flip Wilson as well as acting on “The Cosby Show” and dramatic series like “The F.B.I.” and “Hawaii 5-O.”\u003c/p>\n\u003cp>The National Endowment for the Arts awarded Wilson a “Jazz Masters Fellowship” in 2004 for lifetime achievement.\u003c/p>\n\u003cp>In 1998, she received the NAACP Image award — having been active in the civil rights movement, including the 1965 march on Selma, Ala.\u003c/p>\n\u003cp>In 2011, she stopped touring following a show at Ohio University, but had hinted years earlier that she had thought about retiring.\u003c/p>\n\u003cp>The Associated Press reports that in 2007, when she turned 70, “Wilson was the guest of honor at a Carnegie Hall gala. ‘After 55 years of doing what I do professionally, I have a right to ask how long? I’m trying to retire, people,’ she said with a laugh before leaving the stage to a standing ovation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to a family statement, Wilson did not want a funeral. A celebration of her life will be held later. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=Nancy+Wilson%2C+Legendary+Vocalist+And+NPR+%27Jazz+Profiles%27+Host%2C+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg\" alt=\"\" width=\"800\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>For some, going to a rave is an opportunity for healing, a way to cultivate a mind-body connection by moving to the rhythm with friends and strangers in the dark. But for Oakland producer \u003ca href=\"https://www.kqed.org/arts/13844497/after-ghost-ship-russell-e-l-butler-composes-a-new-home\" target=\"_blank\" rel=\"noopener\">Russell E.L. Butler\u003c/a>, it’s deeper than that.\u003c/p>\n\u003cp>On their November release, \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>(Left Hand Path), Butler (who prefers the pronoun “they”) uses techno as a language to grapple with the aftermath of the Ghost Ship fire, which they narrowly escaped. Throughout the album, Butler’s jagged beats, with thudding bass lines and tempestuous synths, give voice to the painful process of recovering from trauma.\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=45713922/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>As many have pointed out, the artists who perished at Ghost Ship gathered in the unsafe warehouse out of necessity amid Oakland’s lack of affordable spaces to live, create and perform. With \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, Butler imagines a society that prioritizes the well-being of queer, trans, black, immigrant and low-income artists. But, as Butler told me when I interviewed them in November, there’s no getting there without a fight.\u003c/p>\n\u003cp>Fittingly, the music Butler created to articulate these ideas is rife with friction. After ambient intro “Tuning Fork,” “Builder” cuts in with a pounding break beat. Its yo-yoing synth-lines lull listeners into a hypnotic state before the \u003cem>thwack\u003c/em> of each snare jolts them awake. “No New Neighbors,” another standout track, pulses to a funky bass line as increasingly suspenseful synths build tension that never resolves. [contextly_sidebar id=”MXch0Z3vP2FmUmoWmGgZX2Owfjgsk3gl”]\u003c/p>\n\u003cp>Though the album’s tense mood rarely shifts, the song titles on the second half of the record suggest new growth and regeneration. On “Cure Water,” sparkling synths bubble up out of a long, drawn-out bass line like seedlings sprouting from moist soil. On “Garden’s Gift,” which evokes a bit of Detroit techno, Miami bass and punk rock, fast-and-loose cymbals invite the listener to shake everything off. [contextly_sidebar id=”otqWU6O0wT3dQSxc2qiK5B8HB3BvqUr1″]\u003c/p>\n\u003cp>Not every producer can imbue wordless techno with a tangible concept, but Butler pulls it off by infusing their beats with the visceral feeling of struggle and unease that accompanies going through a period of growth. \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is a fascinating work that returns to techno’s roots as a liberatory genre, where rhythm allows humanity to unite and work towards a better future.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n",
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"content": "\u003cp>On the one hand, San Francisco musicians have \u003ca href=\"https://www.kqed.org/arts/13839604/moss-street-rehearsal-studio-tenants-evicted-by-luxury-realtor\">fewer places to rehearse\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">fewer places to play\u003c/a>, especially venues that aren’t controlled by \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">right-wing fundamentalists\u003c/a> or \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">anti-homeless vigilantes\u003c/a>. \u003c/p>\n\u003cp>On the other, there’s Father/Daughter Records. The label, launched in 2010 by Jessi Frick, has built a formidable platform for local artists, and in 2018 it released an outsized amount of the city’s finest indie-rock records. A label showcase Thursday at The Independent attests to its banner year. [contextly_sidebar id=”yBKF1IVdeJXq4vgl6ofkYtraVQG6dO77″]\u003c/p>\n\u003cp>Headliner Pllush in May released \u003cem>Stranger to the Pain\u003c/em>, a heaving, achingly gorgeous full-length debut that’s attracted praise from outlets including The Fader and NPR. Main support Rose Droll, an inventive multi-instrumentalist and agile singer, recently released \u003cem>Your Dog\u003c/em>, which KQED \u003ca href=\"https://www.kqed.org/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog\">dubbed\u003c/a> one of the year’s best Bay Area albums. Rounding out the bill are the spirited, hook-laden rock outfits SOAR and Pardoner—both likely candidates for Father/Daughter releases in 2019. \u003c/p>\n\u003cp>Co-presented with Mission District internet radio station BFF.fm, \u003ca href=\"https://www.facebook.com/events/1786438898135283/\">the show\u003c/a> partially benefits the nonprofit Sunset Youth Services, and the first 200 arrivals receive Father/Daughter holiday ornaments.\u003c/p>\n\u003cp>\u003ca href=\"http://pllushsf.bandcamp.com/album/stranger-to-the-pain\">Stranger to the Pain by Pllush\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"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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},
"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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"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",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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