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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve waited for a bus along Market Street at any point this year, you’ve likely noticed the 2018 Art on Market Street Poster Series, courtesy of the San Francisco Arts Commission, is dedicated to the theme of “sanctuary.” And if you somehow didn’t notice Miguel Arzabe, Rodney Ewing, Weston Teruya and, soon, Sofia Córdova’s posters, now you know where to look. \u003c/p>\n\u003cp>Over the past 11 months, the artists have addressed the subject in a variety of ways: \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/artists-explore-what-it-means-be-sanctuary-city\" rel=\"noopener\" target=\"_blank\">Arzabe\u003c/a> physically wove together posters from different political movements and cultural events in San Francisco history; \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/debate-about-sanctuary-cities-artist-rodney-ewing-brings\" rel=\"noopener\" target=\"_blank\">Ewing\u003c/a> layered official and unofficial pieces of documentation from immigrants’ life stories; and \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/local-artist-weston-teruya-explores-importance-reslience\" rel=\"noopener\" target=\"_blank\">Teruya\u003c/a> collaborated with Bay Area artists to create sculptural talismans that invoke moments of solidarity and intersectionality. \u003c/p>\n\u003cp>In conjunction with her forthcoming designs, on Monday, Nov. 26, starting at 7pm, \u003ca href=\"https://www.sofiacordova.com/\" rel=\"noopener\" target=\"_blank\">Córdova\u003c/a> and Matthew Gonzalez Kirkland (who collaborate musically under the moniker \u003ca href=\"https://soundcloud.com/xuxasantamaria\" rel=\"noopener\" target=\"_blank\">Xuxa Santamaria\u003c/a>), perform a half-hour experimental score titled \u003ci>\u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener\" target=\"_blank\">Song4Sanctuary\u003c/a>\u003c/i> in the cavernous rotunda of San Francisco’s City Hall.\u003c/p>\n\u003cp>Pulling from the popular music of immigrant diasporas that benefit from San Francisco’s sanctuary-city status, Xuxa Santamaria’s performance is complemented by movement from Oakland-based dancer Stephanie Hewett. Audio recorded from Bay Area radio stations include snippets of disk-jockey chatter, music and advertising, recreating and remixing the sonic space inhabited by various immigrant communities in the city’s most potent architectural symbol. \u003c/p>\n\u003cp>Fittingly, the event is \u003ca href=\"https://www.sfartscommission.org/calendar/xuxa-santamaria-song4sanctuary\" rel=\"noopener\" target=\"_blank\">free and open to all\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Syko, Producer of Mac Dre's 'Thizzle Dance,' Reported Dead",
"headTitle": "Syko, Producer of Mac Dre’s ‘Thizzle Dance,’ Reported Dead | KQED",
"content": "\u003cp>Syko, the Seattle rapper and producer best known for producing Mac Dre’s iconic hyphy anthem “\u003ca href=\"https://www.youtube.com/watch?v=lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener\">Thizzle Dance\u003c/a>,” was killed in a car accident on Friday, Nov. 16, according to friends and fans posting on social media.\u003c/p>\n\u003cp>Many of those mourning the producer shared a \u003ca href=\"https://komonews.com/news/local/man-dead-after-crashing-car-near-boeing-in-everett?fbclid=IwAR2mwFvaiqT4DSDb2DK3JHzyrJPpE7KGbRa6y6cBxfptg4VfWCGzh5NmDCM\" target=\"_blank\" rel=\"noopener\">KOMO News article\u003c/a> about an unnamed man who crashed in Everett, Washington Friday. The Snohomish County medical examiner’s office confirmed that death to KQED, and one of Syko’s close friends, Darryl Reese, confirmed that Syko, real name Theophilus Adams, did indeed pass away yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13845115\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg\" alt=\"Syko.\" width=\"750\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Syko. \u003ccite>(Darryl Reese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reese described Syko, who was originally from Portland, Ore., as a passionate musician, good friend and devoted father of two kids. “He was a very happy dude,” Reese says. “I never argued with Syko. He was crazy, tremendous energy. He would light up a room every time he stepped in it.”\u003c/p>\n\u003cp>Syko helped define the Bay Area’s hyphy movement with his bouncy, bass-heavy production on Mac Dre’s 2002 \u003cem>Thizzelle Washington\u003c/em> album, including the ubiquitous “Thizzle Dance” and “Boss Tycoon.” Syko’s sound later inspired artists like Mistah F.A.B. and E-40 as hyphy, the Bay Area’s best-known rap subculture, became a phenomenon in the mid 2000s.\u003c/p>\n\u003cp>In addition to his own production work, Syko was an advocate for other producers and underground musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People don’t realize he was a champion of that sound,” said Reese, who interviewed Syko for his podcast, \u003ca href=\"https://soundcloud.com/theglowupcast/the-glow-up-ep-10-og-west-coast-producer-syko\" target=\"_blank\" rel=\"noopener\">\u003cem>The Glow Up\u003c/em>\u003c/a>, last year, where the producer spoke extensively about his work with Mac Dre. “That’s what always mattered to him, producers getting their credit.”\u003c/p>\n\u003cp>https://youtu.be/wS6NXlfkAgw\u003c/p>\n\u003cp>“\u003cspan class=\"s1\">The main thing he wanted to do always was support and show love,” said Gizzle McFly, a Richmond, Calif. rapper who collaborated with Syko extensively since 2012. The two of them were in the process of recording an album together at the time of Syko’s death. “Any conversation with him, he based that off what he learned from Mac Dre—which was somebody who believed in him and gave him a shot. And from him having that shot, he made some of the most memorable and influential songs in West Coast and—I would say—rap history.”\u003c/span>\u003c/p>\n\u003cp>In his final \u003ca href=\"https://www.instagram.com/p/BqRPfX4gySO/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a>, Syko hinted at the future.\u003c/p>\n\u003cp>“Don’t define me by Thizzle Dance and Boss Tycoon,” Syko wrote. “If I can make Drake dance on stage to my shit, I know I got some more work to do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated on Nov. 19 to include quotes from Gizzle McFly.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Syko, the Seattle rapper and producer best known for producing Mac Dre’s iconic hyphy anthem “\u003ca href=\"https://www.youtube.com/watch?v=lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener\">Thizzle Dance\u003c/a>,” was killed in a car accident on Friday, Nov. 16, according to friends and fans posting on social media.\u003c/p>\n\u003cp>Many of those mourning the producer shared a \u003ca href=\"https://komonews.com/news/local/man-dead-after-crashing-car-near-boeing-in-everett?fbclid=IwAR2mwFvaiqT4DSDb2DK3JHzyrJPpE7KGbRa6y6cBxfptg4VfWCGzh5NmDCM\" target=\"_blank\" rel=\"noopener\">KOMO News article\u003c/a> about an unnamed man who crashed in Everett, Washington Friday. The Snohomish County medical examiner’s office confirmed that death to KQED, and one of Syko’s close friends, Darryl Reese, confirmed that Syko, real name Theophilus Adams, did indeed pass away yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13845115\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg\" alt=\"Syko.\" width=\"750\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Syko. \u003ccite>(Darryl Reese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reese described Syko, who was originally from Portland, Ore., as a passionate musician, good friend and devoted father of two kids. “He was a very happy dude,” Reese says. “I never argued with Syko. He was crazy, tremendous energy. He would light up a room every time he stepped in it.”\u003c/p>\n\u003cp>Syko helped define the Bay Area’s hyphy movement with his bouncy, bass-heavy production on Mac Dre’s 2002 \u003cem>Thizzelle Washington\u003c/em> album, including the ubiquitous “Thizzle Dance” and “Boss Tycoon.” Syko’s sound later inspired artists like Mistah F.A.B. and E-40 as hyphy, the Bay Area’s best-known rap subculture, became a phenomenon in the mid 2000s.\u003c/p>\n\u003cp>In addition to his own production work, Syko was an advocate for other producers and underground musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People don’t realize he was a champion of that sound,” said Reese, who interviewed Syko for his podcast, \u003ca href=\"https://soundcloud.com/theglowupcast/the-glow-up-ep-10-og-west-coast-producer-syko\" target=\"_blank\" rel=\"noopener\">\u003cem>The Glow Up\u003c/em>\u003c/a>, last year, where the producer spoke extensively about his work with Mac Dre. “That’s what always mattered to him, producers getting their credit.”\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/wS6NXlfkAgw'\n title='//www.youtube.com/embed/wS6NXlfkAgw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003cspan class=\"s1\">The main thing he wanted to do always was support and show love,” said Gizzle McFly, a Richmond, Calif. rapper who collaborated with Syko extensively since 2012. The two of them were in the process of recording an album together at the time of Syko’s death. “Any conversation with him, he based that off what he learned from Mac Dre—which was somebody who believed in him and gave him a shot. And from him having that shot, he made some of the most memorable and influential songs in West Coast and—I would say—rap history.”\u003c/span>\u003c/p>\n\u003cp>In his final \u003ca href=\"https://www.instagram.com/p/BqRPfX4gySO/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a>, Syko hinted at the future.\u003c/p>\n\u003cp>“Don’t define me by Thizzle Dance and Boss Tycoon,” Syko wrote. “If I can make Drake dance on stage to my shit, I know I got some more work to do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated on Nov. 19 to include quotes from Gizzle McFly.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Anderson .Paak Comes Home: 'This Is What We Dreamed Of'",
"headTitle": "Anderson .Paak Comes Home: ‘This Is What We Dreamed Of’ | KQED",
"content": "\u003cp>The smoky, silky rasp of \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\">Anderson .Paak\u003c/a>‘s voice boasts a soulfulness beyond his years. Though he’s only 32, the California native has done more living than many musicians do in their whole lives, and he has the war stories to prove it.\u003c/p>\n\u003cp>He grew up playing drums in church, watched his family torn apart by domestic abuse and prison stints, worked in an assisted living home, engineered for a punk band, followed a woman to L.A., and formed his band, The Free Nationals, while attending music school — all before the world knew his name. But even through his rocky moments, making music and going back to his hometown have remained two constant factors in his life.\u003c/p>\n\u003cp>[contextly_sidebar id=”LGnfQYtSPx1snjlWaOVgTWypS2NjCiu5″]\u003c/p>\n\u003cp>“I don’t know if it was faith or anything, but, naturally, I always had to be doing something creative or musical,” .Paak says. “I couldn’t help it. Even when I was saying I quit, I was always doing something — writing a little bit, or recording, helping somebody out.”\u003c/p>\n\u003cp>After years of grinding in the L.A. music scene, .Paak made a splash in 2015 on Dr. Dre’s \u003cem>Compton\u003c/em> and quickly followed that up with his own 2016 album, \u003cem>Malibu \u003c/em>— mixing ’70s funk, speakeasy soul and R&B elements with intricate, immersive (and sometimes hilariously raunchy) songwriting. Now, two years and a couple world tours later, .Paak is back.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Oxnard\u003c/em>, out Nov. 16, is an ode to the artist’s formative years growing up in Oxnard, Calif. and something of a homecoming, as the first album released under Dr. Dre’s Aftermath Entertainment. With features from \u003ca href=\"https://www.npr.org/artists/397293070/j-cole\">J. Cole\u003c/a>, \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, \u003ca href=\"https://www.npr.org/tags/126920109/snoop-dogg\">Snoop Dogg\u003c/a> and \u003ca href=\"https://www.npr.org/artists/597644166/kadhja-bonet\">Kadhja Bonet\u003c/a> ,and his mentor’s fingerprints all over the beats as executive producer, .Paak probes topics from unceremonious breakups to his own position in the music industry.\u003c/p>\n\u003cp>[contextly_sidebar id=”FXUntZjqQ9F4vy03llUcuQvBHTBrBcMp”]\u003c/p>\n\u003cp>.Paak joined NPR’s David Greene in-studio — over cups of “champeezy” — to discuss finding his confidence as a performer, getting through unstable times and \u003cem>Oxnard’\u003c/em>s overarching themes\u003cem>. \u003c/em>Hear the radio version of their conversation at the audio link, and read on for more that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anderson .Paak & The Free Nationals: NPR Music Tiny Desk Concert\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ferZnZ0_rSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>David Greene: Whatever it is about you that strikes people — that other musicians are like, “You’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to be out there, you’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to play music” — where do we hear it on this new album?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak: \u003c/strong>You hear it in the production. There’s so much great drumming; there’s so much great musicianship in there.\u003c/p>\n\u003cp>\u003cstrong>Why is that the distinctive Anderson .Paak sound?\u003c/strong>\u003c/p>\n\u003cp>I don’t know if it’s distinctive, but there’s a way that I say things, relationship-wise, that I think is just unique to myself and really honest — making it simple but still not on the sleeve.\u003c/p>\n\u003cp>In [the song “Smile/Petty”] in particular, I’m actually talking about a situation that happened to my guitar player, where he got kicked out of his house and she put all his stuff in the street. He was trying to FaceTime her before he was on the plane, and he was like, “I \u003cem>just got\u003c/em> that stuff.” He was trying to talk to her as we were pulling off, then he just loses reception. It was great material for me to write about.\u003c/p>\n\u003cp>\u003cstrong>Probably not good for his belongings. \u003c/strong>\u003c/p>\n\u003cp>Yeah, but it made for a great song. Being able to put what’s going on in my life and everyone’s life into a way that everyone can relate to, that’s what I really love. And that song in particular is definitely about that.\u003c/p>\n\u003cp>\u003cstrong>Dr. Dre produced this album, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, he mixed the whole album. He was the main producer. That doesn’t necessarily mean that he was making all the beats and everything, but me and him were running the train. … Some artists, everything’s laid out for them. They get to the studio, song’s ready. “Here’s your song, just do it.”\u003c/p>\n\u003cp>\u003cstrong>What’s your relationship like? \u003c/strong>\u003c/p>\n\u003cp>Just two Aquariuses going at it: two control freaks, perfectionists that just can’t stop working on a project. I love it. It’s amazing, man. We met a few years ago, — they were working on his album \u003cem>Compton\u003c/em>, and some writers over there really liked my song “Suede”… and they were like, man, we want to get you on this Dre project. I went over there, not thinking I was gonna meet Dre or anything, and I walk in and he’s like the first person I meet, him and [rapper and Death Row Records co-founder] D.O.C.\u003c/p>\n\u003cp>\u003cstrong>Was that intimidating?\u003c/strong>\u003c/p>\n\u003cp>A little bit. He’s super tall. Like, everyone was tall in the ’90s — I don’t get it. But yeah it was great, and he threw me all over the album. The dope part was that [when] he put out his album, I wasn’t signed to him yet or anything like that, and I had \u003cem>Malibu \u003c/em>almost done. After he put out his album, I put out \u003cem>Malibu — \u003c/em>and signed to Dre after that.\u003c/p>\n\u003cp>\u003cstrong>Do you feel like you’ve made it? I just think about the rocky journey, and moments where you gave up music, and your parents and the uncertainty. Is this album a moment for you, where you feel that you’ve come through and you don’t have to worry?\u003c/strong>\u003c/p>\n\u003cp>I mean, dude, I could eat sushi every day if I wanted to. It’s dope not having to worry about my phone bill and stuff. But it’s always something next level. I’m always around people that are on that next level, and I want to aspire to do that. But this definitely feels like a welcome home — like, “Dang man, I’m proud of what we did.” All these different people we met. I’ve gotten to see the world, I’ve gotten to share all these experiences with people in my hometown and introduce my hometown to the world. It just feels great. This is what we dreamed of.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Web editor \u003c/em>\u003ca href=\"https://www.npr.org/people/565465074/sidney-madden\">\u003cem>Sidney Madden\u003c/em>\u003c/a>\u003cem> contributed to this story. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anderson+.Paak+Comes+Home%3A+%27This+Is+What+We+Dreamed+Of%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The singer-songwriter-rapper-drummer is one of music's most venerable Renaissance men. .Paak discusses his early struggles, building confidence and his latest album, \u003cem>Oxnard\u003c/em>, with David Greene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The smoky, silky rasp of \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\">Anderson .Paak\u003c/a>‘s voice boasts a soulfulness beyond his years. Though he’s only 32, the California native has done more living than many musicians do in their whole lives, and he has the war stories to prove it.\u003c/p>\n\u003cp>He grew up playing drums in church, watched his family torn apart by domestic abuse and prison stints, worked in an assisted living home, engineered for a punk band, followed a woman to L.A., and formed his band, The Free Nationals, while attending music school — all before the world knew his name. But even through his rocky moments, making music and going back to his hometown have remained two constant factors in his life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I don’t know if it was faith or anything, but, naturally, I always had to be doing something creative or musical,” .Paak says. “I couldn’t help it. Even when I was saying I quit, I was always doing something — writing a little bit, or recording, helping somebody out.”\u003c/p>\n\u003cp>After years of grinding in the L.A. music scene, .Paak made a splash in 2015 on Dr. Dre’s \u003cem>Compton\u003c/em> and quickly followed that up with his own 2016 album, \u003cem>Malibu \u003c/em>— mixing ’70s funk, speakeasy soul and R&B elements with intricate, immersive (and sometimes hilariously raunchy) songwriting. Now, two years and a couple world tours later, .Paak is back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Oxnard\u003c/em>, out Nov. 16, is an ode to the artist’s formative years growing up in Oxnard, Calif. and something of a homecoming, as the first album released under Dr. Dre’s Aftermath Entertainment. With features from \u003ca href=\"https://www.npr.org/artists/397293070/j-cole\">J. Cole\u003c/a>, \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a>, \u003ca href=\"https://www.npr.org/tags/126920109/snoop-dogg\">Snoop Dogg\u003c/a> and \u003ca href=\"https://www.npr.org/artists/597644166/kadhja-bonet\">Kadhja Bonet\u003c/a> ,and his mentor’s fingerprints all over the beats as executive producer, .Paak probes topics from unceremonious breakups to his own position in the music industry.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>.Paak joined NPR’s David Greene in-studio — over cups of “champeezy” — to discuss finding his confidence as a performer, getting through unstable times and \u003cem>Oxnard’\u003c/em>s overarching themes\u003cem>. \u003c/em>Hear the radio version of their conversation at the audio link, and read on for more that didn’t make the broadcast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Anderson .Paak & The Free Nationals: NPR Music Tiny Desk Concert\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ferZnZ0_rSM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>David Greene: Whatever it is about you that strikes people — that other musicians are like, “You’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to be out there, you’ve \u003c/strong>\u003cem>\u003cstrong>got \u003c/strong>\u003c/em>\u003cstrong>to play music” — where do we hear it on this new album?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak: \u003c/strong>You hear it in the production. There’s so much great drumming; there’s so much great musicianship in there.\u003c/p>\n\u003cp>\u003cstrong>Why is that the distinctive Anderson .Paak sound?\u003c/strong>\u003c/p>\n\u003cp>I don’t know if it’s distinctive, but there’s a way that I say things, relationship-wise, that I think is just unique to myself and really honest — making it simple but still not on the sleeve.\u003c/p>\n\u003cp>In [the song “Smile/Petty”] in particular, I’m actually talking about a situation that happened to my guitar player, where he got kicked out of his house and she put all his stuff in the street. He was trying to FaceTime her before he was on the plane, and he was like, “I \u003cem>just got\u003c/em> that stuff.” He was trying to talk to her as we were pulling off, then he just loses reception. It was great material for me to write about.\u003c/p>\n\u003cp>\u003cstrong>Probably not good for his belongings. \u003c/strong>\u003c/p>\n\u003cp>Yeah, but it made for a great song. Being able to put what’s going on in my life and everyone’s life into a way that everyone can relate to, that’s what I really love. And that song in particular is definitely about that.\u003c/p>\n\u003cp>\u003cstrong>Dr. Dre produced this album, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah, he mixed the whole album. He was the main producer. That doesn’t necessarily mean that he was making all the beats and everything, but me and him were running the train. … Some artists, everything’s laid out for them. They get to the studio, song’s ready. “Here’s your song, just do it.”\u003c/p>\n\u003cp>\u003cstrong>What’s your relationship like? \u003c/strong>\u003c/p>\n\u003cp>Just two Aquariuses going at it: two control freaks, perfectionists that just can’t stop working on a project. I love it. It’s amazing, man. We met a few years ago, — they were working on his album \u003cem>Compton\u003c/em>, and some writers over there really liked my song “Suede”… and they were like, man, we want to get you on this Dre project. I went over there, not thinking I was gonna meet Dre or anything, and I walk in and he’s like the first person I meet, him and [rapper and Death Row Records co-founder] D.O.C.\u003c/p>\n\u003cp>\u003cstrong>Was that intimidating?\u003c/strong>\u003c/p>\n\u003cp>A little bit. He’s super tall. Like, everyone was tall in the ’90s — I don’t get it. But yeah it was great, and he threw me all over the album. The dope part was that [when] he put out his album, I wasn’t signed to him yet or anything like that, and I had \u003cem>Malibu \u003c/em>almost done. After he put out his album, I put out \u003cem>Malibu — \u003c/em>and signed to Dre after that.\u003c/p>\n\u003cp>\u003cstrong>Do you feel like you’ve made it? I just think about the rocky journey, and moments where you gave up music, and your parents and the uncertainty. Is this album a moment for you, where you feel that you’ve come through and you don’t have to worry?\u003c/strong>\u003c/p>\n\u003cp>I mean, dude, I could eat sushi every day if I wanted to. It’s dope not having to worry about my phone bill and stuff. But it’s always something next level. I’m always around people that are on that next level, and I want to aspire to do that. But this definitely feels like a welcome home — like, “Dang man, I’m proud of what we did.” All these different people we met. I’ve gotten to see the world, I’ve gotten to share all these experiences with people in my hometown and introduce my hometown to the world. It just feels great. This is what we dreamed of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Web editor \u003c/em>\u003ca href=\"https://www.npr.org/people/565465074/sidney-madden\">\u003cem>Sidney Madden\u003c/em>\u003c/a>\u003cem> contributed to this story. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anderson+.Paak+Comes+Home%3A+%27This+Is+What+We+Dreamed+Of%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Richard Marriott was across the world, in Bali, when the Ghost Ship warehouse in Oakland caught on fire, killing 36 people. But it still felt very, very close to home for the San Francisco composer and Club Foot Orchestra founder. Marriott spent years living in the Mission District warehouse 18 Sycamore, sharing space with groups like the Residents and Tuxedomoon, and says he knows all too well the “certain element of danger” in the artist’s pursuit. \u003c/p>\n\u003cp>“It could have been us at 18 Sycamore,” Marriott says of the Ghost Ship fire. “It’s really just kind of an open wound. You’re a young artist involved in experimentation, discovery, freedom, and the vast reaches of your mind, and just to have this… it’s devastating.”\u003c/p>\n\u003cp>[contextly_sidebar id=”LsCCJUn1BRALaHV2CLiMpFJy1lR507zF”]\u003c/p>\n\u003cp>\u003cem>Ghost Ship Concerto\u003c/em>, premiering \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Nov. 16 with the Oakland Symphony\u003c/a>, is Marriott’s way of helping process that devastation. His composition, 24 minutes long across three movements, includes musical representations of freedom, travel, oscillators, romance, EDM music, and sailing. A French Horn duet evokes living harmoniously; a barrage of percussion represents the fire itself; a solo cello with strings provides the piece’s final elegy.\u003c/p>\n\u003cp>Classical music may appear to be miles apart, stylistically, from the underground electronic music that’s a staple at warehouse spaces. But the project was so personal for Marriott that he studied the music performed at the Ghost Ship warehouse, and replicated it in motifs for the concerto—transforming the kinship he shared with those in the Ghost Ship fire into a musical one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All told, the piece is designed to provide reflection, inspiration, and healing for the fire, the aftereffects of which still linger nearly two years later—and not just in Oakland, either. Marriott is quick to note that all around the world, creative people saw themselves in the Ghost Ship artists, having shared the same early experience of struggle no matter their practice or genre.\u003c/p>\n\u003cp>“Most classical composers, even those with big commissions, are not far from that experience of living off the grid. Most of them know this life,” he says. “And you can leave that type of life, but it leaves its mark. Artists keep coming back to it. It never leaves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem for Ghost Ship’ includes Marriott’s ‘Ghost Ship Concerto,’ Leonard Bernstein’s ‘Take Care of This House’ and Johannes Brahms’ ‘Ein Deutsches Requiem’ on Friday, Nov. 16, at the Paramount Theater in Oakland. \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Richard Marriott was across the world, in Bali, when the Ghost Ship warehouse in Oakland caught on fire, killing 36 people. But it still felt very, very close to home for the San Francisco composer and Club Foot Orchestra founder. Marriott spent years living in the Mission District warehouse 18 Sycamore, sharing space with groups like the Residents and Tuxedomoon, and says he knows all too well the “certain element of danger” in the artist’s pursuit. \u003c/p>\n\u003cp>“It could have been us at 18 Sycamore,” Marriott says of the Ghost Ship fire. “It’s really just kind of an open wound. You’re a young artist involved in experimentation, discovery, freedom, and the vast reaches of your mind, and just to have this… it’s devastating.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Ghost Ship Concerto\u003c/em>, premiering \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Nov. 16 with the Oakland Symphony\u003c/a>, is Marriott’s way of helping process that devastation. His composition, 24 minutes long across three movements, includes musical representations of freedom, travel, oscillators, romance, EDM music, and sailing. A French Horn duet evokes living harmoniously; a barrage of percussion represents the fire itself; a solo cello with strings provides the piece’s final elegy.\u003c/p>\n\u003cp>Classical music may appear to be miles apart, stylistically, from the underground electronic music that’s a staple at warehouse spaces. But the project was so personal for Marriott that he studied the music performed at the Ghost Ship warehouse, and replicated it in motifs for the concerto—transforming the kinship he shared with those in the Ghost Ship fire into a musical one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All told, the piece is designed to provide reflection, inspiration, and healing for the fire, the aftereffects of which still linger nearly two years later—and not just in Oakland, either. Marriott is quick to note that all around the world, creative people saw themselves in the Ghost Ship artists, having shared the same early experience of struggle no matter their practice or genre.\u003c/p>\n\u003cp>“Most classical composers, even those with big commissions, are not far from that experience of living off the grid. Most of them know this life,” he says. “And you can leave that type of life, but it leaves its mark. Artists keep coming back to it. It never leaves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem for Ghost Ship’ includes Marriott’s ‘Ghost Ship Concerto,’ Leonard Bernstein’s ‘Take Care of This House’ and Johannes Brahms’ ‘Ein Deutsches Requiem’ on Friday, Nov. 16, at the Paramount Theater in Oakland. \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a>‘s free-association raps sound like the artist’s neurons are firing at 100 miles per hour. Full of quirky humor and out-there metaphors, his funky, psychedelic new album \u003cem>Calibration of an Altered Mind \u003c/em>dropped last week on Nov. 9. It’s the cult Oakland artist’s first release since his \u003ca href=\"https://www.spin.com/2015/01/monster-rally-jay-stone-foreign-pedestrians-album-of-the-week/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> 2015 project with Monster Rally, \u003cem>Foreign Pedestrians\u003c/em>. To celebrate, Stone performs at \u003ca href=\"https://legionnairesaloon.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>, an experimental, D.I.Y. hip-hop party at the Legionnaire Saloon in Oakland on Nov. 17.[contextly_sidebar id=”vVzBdsVm2ZqkekuflCofgx0SqzFnrKYH”]\u003c/p>\n\u003cp>At a time when lyrical hip-hop (in the traditional sense) seems to be going out of style, Stone is an artist who pays close attention to the craft of rhyming. But that’s not to say he’s overly self-serious, like those who consider themselves among the “last real MCs” tend to be—quite the opposite, actually. His playful verses attest to the elasticity and imaginative possibilities of rhythm and language. [contextly_sidebar id=”IyPFMgiHSCt0CSBqrmzElUL9SuNyOket”]\u003c/p>\n\u003cp>Queens D.Light, Stone’s partner who released her own excellent album, \u003cem>Flavor of Green\u003c/em>, earlier this year, is featured extensively on \u003cem>Calibration of an Altered Mind\u003c/em>. She performs with Stone at Smart Bomb, along with Heru, Demahjiae and DJ Richlo. Details \u003ca href=\"https://www.instagram.com/p/BqNfiLUBDWz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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=3265979296/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Jay Stone Deploys Out-There Rhymes of an 'Altered Mind' at Smart Bomb | KQED",
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"headline": "Jay Stone Deploys Out-There Rhymes of an 'Altered Mind' at Smart Bomb",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a>‘s free-association raps sound like the artist’s neurons are firing at 100 miles per hour. Full of quirky humor and out-there metaphors, his funky, psychedelic new album \u003cem>Calibration of an Altered Mind \u003c/em>dropped last week on Nov. 9. It’s the cult Oakland artist’s first release since his \u003ca href=\"https://www.spin.com/2015/01/monster-rally-jay-stone-foreign-pedestrians-album-of-the-week/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> 2015 project with Monster Rally, \u003cem>Foreign Pedestrians\u003c/em>. To celebrate, Stone performs at \u003ca href=\"https://legionnairesaloon.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>, an experimental, D.I.Y. hip-hop party at the Legionnaire Saloon in Oakland on Nov. 17.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At a time when lyrical hip-hop (in the traditional sense) seems to be going out of style, Stone is an artist who pays close attention to the craft of rhyming. But that’s not to say he’s overly self-serious, like those who consider themselves among the “last real MCs” tend to be—quite the opposite, actually. His playful verses attest to the elasticity and imaginative possibilities of rhythm and language. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Queens D.Light, Stone’s partner who released her own excellent album, \u003cem>Flavor of Green\u003c/em>, earlier this year, is featured extensively on \u003cem>Calibration of an Altered Mind\u003c/em>. She performs with Stone at Smart Bomb, along with Heru, Demahjiae and DJ Richlo. Details \u003ca href=\"https://www.instagram.com/p/BqNfiLUBDWz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\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=3265979296/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Reevaluating the 'Romantic' Hit Songs of Pop Music's Patriarchy",
"headTitle": "Reevaluating the ‘Romantic’ Hit Songs of Pop Music’s Patriarchy | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the last week of September, while viewers around the country were glued to the three-ring circus of sexism and institutional power that was the Brett Kavanaugh confirmation hearing, San Francisco singer-songwriter Kendra McKinley was jetlagged in Iceland. Holed up with former Sigur Rós keyboardist Kjartan Sveinsson, she fought through the fog as she rearranged Doris Day’s 1952 hit single “A Guy Is a Guy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cem>I walked to my house like a good girl should\u003c/em>\u003cbr>\n\u003cem>He followed me to my house like I knew he would\u003c/em>\u003cbr>\n\u003cem>Because a guy is a guy wherever he may be\u003c/em>\u003cbr>\n\u003cem>So listen while I tell you what this fellow did to me\u003c/em>\u003c/p>\n\u003cp>McKinley was there at the behest of Icelandic artist Ragnar Kjartansson, who’d selected her to be the bandleader for \u003cem>Romantic Songs of the Patriarchy\u003c/em>, a three-day performance piece that took over the Women’s Building in San Francisco from Nov. 9 through Nov. 11. Comprised of 32 local women artists singing 25 pop songs—well-known selections from rock, folk, country, hip-hop—the performance focused on music from the past century that’s been viewed as romantic, but upon closer investigation reveals a deep strain of misogyny.\u003c/p>\n\u003cp>“Being there during Dr. Ford’s testimony gave me this really deep sense of responsibility, of purpose behind the piece,” says McKinley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Here’s this historic moment we’re having, and I think we’re seeing that there’s a gravity to what we consume culturally—it affects our lives, it affects the decisions of people in power … when we’ve all been listening to music and watching movies and working in institutions that reinforce that [things like sexual assault] are normal,” says the songwriter. “The reality is that patriarchy is inescapable. And you can’t get out of it. It’s in the air we breathe.”\u003c/p>\n\u003cp>She stayed tuned into the hearing from afar as best as she could. She helped arrange “Blurred Lines,” by Robin Thicke, and “Girl You’ll Be a Woman Soon” by Neil Diamond, and “Lo Mejor de Tu Vida” by Julio Iglesias for fingerpicked acoustic guitar. She drew up charts that put all the songs in the same key, and recorded herself playing and singing each of them, so the other performers could practice.\u003c/p>\n\u003cp>She flew home. Brett Kavanaugh got confirmed to the Supreme Court. Christine Blasey-Ford has been forced to move four times since.\u003c/p>\n\u003cfigure id=\"attachment_13844985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-800x498.jpg\" alt=\"(L–R) Bianka Alloyn and Alfa Garcia perform at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco. \" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-1200x747.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-1180x735.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-960x598.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-520x324.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Alfa Garcia and Bianka Alloyn perform at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o the thing with the toxic airborne pollution-as-misogyny-metaphor is that it’s too easy, right, when California’s literally on fire? But it’s also tough to avoid right now: it is true that I walked the three blocks from my apartment to the Women’s Building on Saturday through an unnatural pink haze, breathing in toxic chemicals—the couple stores I’d been to were out of masks—and considering, as the light fell in odd bright slivers on the buildings around me, the difference between Instagram golden hour and apocalypse chic. A marketing problem, I thought perversely: \u003cem>this fire needs a new publicist.\u003c/em>\u003c/p>\n\u003cp>I got in line behind 30 or so other people, and then volunteers in respirators began working their way down, confirming our tickets. And then I was inside, and I don’t know what I was expecting, but for the next 90 minutes, I did not breathe normally at all.\u003c/p>\n\u003cp>The performers, many of whom I recognized from the Bay Area music scene, positioned themselves around the building’s four floors—in offices and boardrooms, on staircases and scaffolding, or tucked into janitorial closets. Each woman dressed in black, each played a guitar, and each sang, in a loop, a familiar song.\u003c/p>\n\u003cp>Kjartansson is known for the use of repetition in his work—but to be clear: each performer in \u003cem>Romantic Songs of the Patriarchy\u003c/em> played one song, nonstop, for the duration of the three-day performance, 19 hours total. They took breaks only for tea and the bathroom. It seemed an endurance test both physical and emotional, an experience neither comfortable nor pleasant.\u003c/p>\n\u003cp>There were stylistic differences in their playing. Some sang directly to their audience, with a smile and a hint of tongue-in-cheek; some stared forlornly into middle distance. Some screamed, some sang sweetly, some intoned the words as a sort of Hail Mary. In some rooms, the performers shared space, their words and guitar chords bleeding into one another. They sang in Spanish and English. Many of them sang songs I knew, some by heart. But I’d never heard them like this.\u003c/p>\n\u003cfigure id=\"attachment_13844978\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13844978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/C-Project_2-1020x1020.jpg\" alt=\"Lilie Bytheway-Hoy performs at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lilie Bytheway-Hoy performs at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the first floor, a performer sang the Crystals’ “He Hit Me (and It Felt Like a Kiss)” while perched atop a bank of mailboxes:\u003c/p>\n\u003cp>\u003cem>He hit me\u003c/em>\u003cbr>\n\u003cem>And it felt like a kiss\u003c/em>\u003cbr>\n\u003cem>He hit me\u003c/em>\u003cbr>\n\u003cem>And I knew he loved me\u003c/em>\u003c/p>\n\u003cp>On the second floor, in what seemed to be a daycare room, a woman sang “Under My Thumb,” by the Rolling Stones, near a wall of little kids’ cubbies.\u003c/p>\n\u003cp>\u003cem>Under my thumb\u003c/em>\u003cbr>\n\u003cem>It’s a squirmin’ dog who’s just had her day…\u003c/em>\u003cbr>\n\u003cem>The way she does just what she’s told, down to me\u003c/em>\u003c/p>\n\u003cp>Around the corner on a trellis, I heard the British Invasion’s nice guys, the Beatles, represented by “Run For Your Life.”\u003c/p>\n\u003cp>\u003cem>Let this be a sermon\u003c/em>\u003cbr>\n\u003cem>I mean everything I’ve said\u003c/em>\u003cbr>\n\u003cem>Baby, I’m determined\u003c/em>\u003cbr>\n\u003cem>And I’d rather see you dead.\u003c/em>\u003c/p>\n\u003cp>In a bright classroom on the third floor, I found a woman singing Lil Wayne’s “Love Me,” backlit by the afternoon’s grey-orange sky.\u003c/p>\n\u003cp>\u003cem>She said ‘I never want to make you mad, I just want to make you proud’\u003cbr>\nI said ‘Baby just make me cum, then don’t make no sound’\u003c/em>\u003c/p>\n\u003cp>I watched this song, perhaps the project’s most explicit, for a full two loops, as groups of three to four people filtered into the room, stared helplessly for a few moments—the discomfort palpable—then backed out.\u003c/p>\n\u003cfigure id=\"attachment_13844988\" class=\"wp-caption aligncenter\" style=\"max-width: 1129px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844988\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_.jpg\" alt=\"Paige Clem performs at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco.\" width=\"1129\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_.jpg 1129w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-520x292.jpg 520w\" sizes=\"(max-width: 1129px) 100vw, 1129px\">\u003cfigcaption class=\"wp-caption-text\">Paige Clem performs at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Lilja Gunnarsdóttir/Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time I reached the fourth floor—Nine Inch Nails’ “Closer,” Tammy Wynette’s “Stand By Your Man,” The Police’s “Every Breath You Take,” among others—I felt vaguely as if someone had just removed all my skin with a potato peeler. I made brief eye contact with two women silently sobbing in front of a performer doing Alice Cooper’s “Only Women Bleed.” (“He slaps you once in a while / And you live and love in pain…”)\u003c/p>\n\u003cp>And then I retraced my steps back through the building, thinking: yep, that’s about right. This is what women walk around with, all day, every day. These are the stories replaying in women’s heads, stories of rape and harassment and lechery and violence and condescension and the understanding that our lives do not belong to us. That we are object, never subject. In board rooms and classrooms and at childcare. And no one is safe: not a janitor nor a CEO. I walked down the stairs, noticing my claustrophobia growing with each repeated verse.\u003c/p>\n\u003cp>And then I was back on the street, passing by visitors as they entered the building, not knowing what to expect. I walked home, trying to breathe, trying not to breathe. I wondered how much those masks were even filtering out. I wondered about the irreversible damage that had already been done.\u003c/p>\n\u003cp>“I feel like I just got hit by a truck,” a friend I’d seen inside the performance texted me afterward, by way of explaining why she had to split. “Gasping for air,” read another friend’s Instagram post. “I cried,” another texted simply, “twice.”\u003c/p>\n\u003cp>I went home and, masochist that I am, put on “Runaround Sue.”\u003c/p>\n\u003cfigure id=\"attachment_13844975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/C-Project_1-800x600.jpg\" alt=\"Laila Sapphira Williams performs at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laila Sapphira Williams performs at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Lilja Gunnarsdóttir/Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou see, I’d had this experience with “Runaround Sue” a few weeks ago, in which I was horrified-slash-delighted to learn that the cheerful song—warning about the immorality of a girl who dates many guys—was by Dion. Don’t know him? Dion’s other best-known single is called “The Wanderer,” a similarly cheerful tune that celebrates being a guy who dates as many girls as he can—so many, in fact, he can’t keep his dates straight:\u003c/p>\n\u003cp>\u003cem>Where pretty girls are, well you know that I’m around\u003cbr>\nI kiss ’em and I love ’em cause to me they’re all the same\u003cbr>\nI hug ’em and I squeeze ’em they don’t even know my name\u003c/em>\u003c/p>\n\u003cp>The double-standard was so textbook, I kind of loved it. Because, I suppose, I like to think I’m smarter than that. I tell myself that I’m blocking out the misogyny when I hear it over the radio, or on the street, and I believe I am successful in that, to a degree: that it doesn’t affect me.\u003c/p>\n\u003cp>But I came home from this performance with my bubble burst a little. Because the truth is it’s impossible to be fully academic about pop music. There’s no outsmarting it. You don’t get out of popular culture shaping the way you experience life just because you can write a thesis on it. Pop music, perhaps in particular, is by its very nature both borne of a time and place—a mirror of existing culture—\u003cem>and\u003c/em> a building block of it. Just ask the musicians of Stax Records during the Civil Rights movement, or anyone who was 18 in this country during the Vietnam War.\u003c/p>\n\u003cp>“Given all that women are expected to live with—the leers that start when we’ve barely begun puberty, the harassment, the violence we survive or are constantly on guard for—I can’t help but wonder what it has all done to us,” wrote Jessica Valenti in her 2016 book \u003cem>Sex Object\u003c/em>. “Not just to how women experience the world, but how we experience ourselves. I started to ask myself: \u003cem>Who would I be if I didn’t live in a world that hated women?\u003c/em>”\u003c/p>\n\u003cp>I come back to that line often. And I came back to it after this performance, because this performance reminded me that blocking out misogynist messaging every day takes energy, and effort. That you’re not winning if you’re still doing all the work, that there are no medals for a job well done.\u003c/p>\n\u003cp>Perhaps most insidiously, these messages are so all-encompassing that you truly stop noticing: I can’t tell you how much of my brain is devoted to trying to prevent the most damaging kinds of misogyny from entering my body, because I don’t know, because I’ve been doing it as long as I’ve been alive. It’s as much a part of what it means to be a woman as knowing which street to walk home on late at night, gravitating toward streetlights and people and noise.\u003c/p>\n\u003cp>Where would that energy be going if it weren’t being used to construct an elaborate force field every day? Too bad I’ll never know.\u003c/p>\n\u003cfigure id=\"attachment_13844981\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844981\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/C-Project_4-800x600.jpg\" alt=\"Anne Carol Mitchell performs at 'Romantic Songs of the Patriarchy' while Laurie Lewis looks on at the Women's Building in San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anne Carol Mitchell performs at ‘Romantic Songs of the Patriarchy’ while Laurie Lewis looks on at the Women’s Building in San Francisco. \u003ccite>(Lilja Gunnarsdóttir/Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Monday, I caught up with McKinley on the phone. She was resting. All the women are psychologically fine, she wants everyone to know, despite the obvious demands of the project. And she was mostly riding high from the experience: she talked about the camaraderie between performers. How important it was that the song selections were all popular, all love songs, all technically \u003cem>good\u003c/em> songs—nearly deified, in some cases. How powerful it felt—at a time when our leaders lie, when language feels like it’s failing, when our culture’s misogyny is more raw and exposed than it’s ever felt in our lifetime—to poke a hole in something so accepted. To pull back the curtain just a little on the canon.\u003c/p>\n\u003cp>Still, she broke down twice over the course of the weekend. She got used to people crying as they watched her sing, to the waves of pain as people recognized a song they loved as a conduit of trauma. She grew accustomed to feeling blank at times, a screen onto which attendees were projecting their own experiences. But there was one moment that caught her: she was singing “Girl You’ll Be a Woman Soon” when a couple of children, young girls, entered the room.\u003c/p>\n\u003cp>“Here’s this song that’s supposed to be romantic and seductive,” says McKinley. “And here are these girls, on the cusp of having to be subjected to this onslaught of bullshit, and having to develop the defenses necessary to survive.”\u003c/p>\n\u003cp>There were a few kids running around when I was there, too. “Cool parents,” I thought, at first. And I wondered how much, if any of this, they really grasped. I even questioned briefly if conversations like this one can push the needle—if pop music might be ever so slightly different by the time they were my age.\u003c/p>\n\u003cp>But McKinley’s right, of course: soon, in one way or another, they’ll understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A marathon performance of familiar, well-loved songs becomes a treatise on the world's undercurrent of misogyny.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the last week of September, while viewers around the country were glued to the three-ring circus of sexism and institutional power that was the Brett Kavanaugh confirmation hearing, San Francisco singer-songwriter Kendra McKinley was jetlagged in Iceland. Holed up with former Sigur Rós keyboardist Kjartan Sveinsson, she fought through the fog as she rearranged Doris Day’s 1952 hit single “A Guy Is a Guy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cem>I walked to my house like a good girl should\u003c/em>\u003cbr>\n\u003cem>He followed me to my house like I knew he would\u003c/em>\u003cbr>\n\u003cem>Because a guy is a guy wherever he may be\u003c/em>\u003cbr>\n\u003cem>So listen while I tell you what this fellow did to me\u003c/em>\u003c/p>\n\u003cp>McKinley was there at the behest of Icelandic artist Ragnar Kjartansson, who’d selected her to be the bandleader for \u003cem>Romantic Songs of the Patriarchy\u003c/em>, a three-day performance piece that took over the Women’s Building in San Francisco from Nov. 9 through Nov. 11. Comprised of 32 local women artists singing 25 pop songs—well-known selections from rock, folk, country, hip-hop—the performance focused on music from the past century that’s been viewed as romantic, but upon closer investigation reveals a deep strain of misogyny.\u003c/p>\n\u003cp>“Being there during Dr. Ford’s testimony gave me this really deep sense of responsibility, of purpose behind the piece,” says McKinley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Here’s this historic moment we’re having, and I think we’re seeing that there’s a gravity to what we consume culturally—it affects our lives, it affects the decisions of people in power … when we’ve all been listening to music and watching movies and working in institutions that reinforce that [things like sexual assault] are normal,” says the songwriter. “The reality is that patriarchy is inescapable. And you can’t get out of it. It’s in the air we breathe.”\u003c/p>\n\u003cp>She stayed tuned into the hearing from afar as best as she could. She helped arrange “Blurred Lines,” by Robin Thicke, and “Girl You’ll Be a Woman Soon” by Neil Diamond, and “Lo Mejor de Tu Vida” by Julio Iglesias for fingerpicked acoustic guitar. She drew up charts that put all the songs in the same key, and recorded herself playing and singing each of them, so the other performers could practice.\u003c/p>\n\u003cp>She flew home. Brett Kavanaugh got confirmed to the Supreme Court. Christine Blasey-Ford has been forced to move four times since.\u003c/p>\n\u003cfigure id=\"attachment_13844985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-800x498.jpg\" alt=\"(L–R) Bianka Alloyn and Alfa Garcia perform at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco. \" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-1200x747.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-1180x735.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-960x598.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage-520x324.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Patriarchy.Collage.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Alfa Garcia and Bianka Alloyn perform at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o the thing with the toxic airborne pollution-as-misogyny-metaphor is that it’s too easy, right, when California’s literally on fire? But it’s also tough to avoid right now: it is true that I walked the three blocks from my apartment to the Women’s Building on Saturday through an unnatural pink haze, breathing in toxic chemicals—the couple stores I’d been to were out of masks—and considering, as the light fell in odd bright slivers on the buildings around me, the difference between Instagram golden hour and apocalypse chic. A marketing problem, I thought perversely: \u003cem>this fire needs a new publicist.\u003c/em>\u003c/p>\n\u003cp>I got in line behind 30 or so other people, and then volunteers in respirators began working their way down, confirming our tickets. And then I was inside, and I don’t know what I was expecting, but for the next 90 minutes, I did not breathe normally at all.\u003c/p>\n\u003cp>The performers, many of whom I recognized from the Bay Area music scene, positioned themselves around the building’s four floors—in offices and boardrooms, on staircases and scaffolding, or tucked into janitorial closets. Each woman dressed in black, each played a guitar, and each sang, in a loop, a familiar song.\u003c/p>\n\u003cp>Kjartansson is known for the use of repetition in his work—but to be clear: each performer in \u003cem>Romantic Songs of the Patriarchy\u003c/em> played one song, nonstop, for the duration of the three-day performance, 19 hours total. They took breaks only for tea and the bathroom. It seemed an endurance test both physical and emotional, an experience neither comfortable nor pleasant.\u003c/p>\n\u003cp>There were stylistic differences in their playing. Some sang directly to their audience, with a smile and a hint of tongue-in-cheek; some stared forlornly into middle distance. Some screamed, some sang sweetly, some intoned the words as a sort of Hail Mary. In some rooms, the performers shared space, their words and guitar chords bleeding into one another. They sang in Spanish and English. Many of them sang songs I knew, some by heart. But I’d never heard them like this.\u003c/p>\n\u003cfigure id=\"attachment_13844978\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13844978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/C-Project_2-1020x1020.jpg\" alt=\"Lilie Bytheway-Hoy performs at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_2.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lilie Bytheway-Hoy performs at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the first floor, a performer sang the Crystals’ “He Hit Me (and It Felt Like a Kiss)” while perched atop a bank of mailboxes:\u003c/p>\n\u003cp>\u003cem>He hit me\u003c/em>\u003cbr>\n\u003cem>And it felt like a kiss\u003c/em>\u003cbr>\n\u003cem>He hit me\u003c/em>\u003cbr>\n\u003cem>And I knew he loved me\u003c/em>\u003c/p>\n\u003cp>On the second floor, in what seemed to be a daycare room, a woman sang “Under My Thumb,” by the Rolling Stones, near a wall of little kids’ cubbies.\u003c/p>\n\u003cp>\u003cem>Under my thumb\u003c/em>\u003cbr>\n\u003cem>It’s a squirmin’ dog who’s just had her day…\u003c/em>\u003cbr>\n\u003cem>The way she does just what she’s told, down to me\u003c/em>\u003c/p>\n\u003cp>Around the corner on a trellis, I heard the British Invasion’s nice guys, the Beatles, represented by “Run For Your Life.”\u003c/p>\n\u003cp>\u003cem>Let this be a sermon\u003c/em>\u003cbr>\n\u003cem>I mean everything I’ve said\u003c/em>\u003cbr>\n\u003cem>Baby, I’m determined\u003c/em>\u003cbr>\n\u003cem>And I’d rather see you dead.\u003c/em>\u003c/p>\n\u003cp>In a bright classroom on the third floor, I found a woman singing Lil Wayne’s “Love Me,” backlit by the afternoon’s grey-orange sky.\u003c/p>\n\u003cp>\u003cem>She said ‘I never want to make you mad, I just want to make you proud’\u003cbr>\nI said ‘Baby just make me cum, then don’t make no sound’\u003c/em>\u003c/p>\n\u003cp>I watched this song, perhaps the project’s most explicit, for a full two loops, as groups of three to four people filtered into the room, stared helplessly for a few moments—the discomfort palpable—then backed out.\u003c/p>\n\u003cfigure id=\"attachment_13844988\" class=\"wp-caption aligncenter\" style=\"max-width: 1129px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13844988\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_.jpg\" alt=\"Paige Clem performs at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco.\" width=\"1129\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_.jpg 1129w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/SongsPatriarchy.MAIN_-520x292.jpg 520w\" sizes=\"(max-width: 1129px) 100vw, 1129px\">\u003cfigcaption class=\"wp-caption-text\">Paige Clem performs at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Lilja Gunnarsdóttir/Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time I reached the fourth floor—Nine Inch Nails’ “Closer,” Tammy Wynette’s “Stand By Your Man,” The Police’s “Every Breath You Take,” among others—I felt vaguely as if someone had just removed all my skin with a potato peeler. I made brief eye contact with two women silently sobbing in front of a performer doing Alice Cooper’s “Only Women Bleed.” (“He slaps you once in a while / And you live and love in pain…”)\u003c/p>\n\u003cp>And then I retraced my steps back through the building, thinking: yep, that’s about right. This is what women walk around with, all day, every day. These are the stories replaying in women’s heads, stories of rape and harassment and lechery and violence and condescension and the understanding that our lives do not belong to us. That we are object, never subject. In board rooms and classrooms and at childcare. And no one is safe: not a janitor nor a CEO. I walked down the stairs, noticing my claustrophobia growing with each repeated verse.\u003c/p>\n\u003cp>And then I was back on the street, passing by visitors as they entered the building, not knowing what to expect. I walked home, trying to breathe, trying not to breathe. I wondered how much those masks were even filtering out. I wondered about the irreversible damage that had already been done.\u003c/p>\n\u003cp>“I feel like I just got hit by a truck,” a friend I’d seen inside the performance texted me afterward, by way of explaining why she had to split. “Gasping for air,” read another friend’s Instagram post. “I cried,” another texted simply, “twice.”\u003c/p>\n\u003cp>I went home and, masochist that I am, put on “Runaround Sue.”\u003c/p>\n\u003cfigure id=\"attachment_13844975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/C-Project_1-800x600.jpg\" alt=\"Laila Sapphira Williams performs at 'Romantic Songs of the Patriarchy' at the Women's Building in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laila Sapphira Williams performs at ‘Romantic Songs of the Patriarchy’ at the Women’s Building in San Francisco. \u003ccite>(Lilja Gunnarsdóttir/Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou see, I’d had this experience with “Runaround Sue” a few weeks ago, in which I was horrified-slash-delighted to learn that the cheerful song—warning about the immorality of a girl who dates many guys—was by Dion. Don’t know him? Dion’s other best-known single is called “The Wanderer,” a similarly cheerful tune that celebrates being a guy who dates as many girls as he can—so many, in fact, he can’t keep his dates straight:\u003c/p>\n\u003cp>\u003cem>Where pretty girls are, well you know that I’m around\u003cbr>\nI kiss ’em and I love ’em cause to me they’re all the same\u003cbr>\nI hug ’em and I squeeze ’em they don’t even know my name\u003c/em>\u003c/p>\n\u003cp>The double-standard was so textbook, I kind of loved it. Because, I suppose, I like to think I’m smarter than that. I tell myself that I’m blocking out the misogyny when I hear it over the radio, or on the street, and I believe I am successful in that, to a degree: that it doesn’t affect me.\u003c/p>\n\u003cp>But I came home from this performance with my bubble burst a little. Because the truth is it’s impossible to be fully academic about pop music. There’s no outsmarting it. You don’t get out of popular culture shaping the way you experience life just because you can write a thesis on it. Pop music, perhaps in particular, is by its very nature both borne of a time and place—a mirror of existing culture—\u003cem>and\u003c/em> a building block of it. Just ask the musicians of Stax Records during the Civil Rights movement, or anyone who was 18 in this country during the Vietnam War.\u003c/p>\n\u003cp>“Given all that women are expected to live with—the leers that start when we’ve barely begun puberty, the harassment, the violence we survive or are constantly on guard for—I can’t help but wonder what it has all done to us,” wrote Jessica Valenti in her 2016 book \u003cem>Sex Object\u003c/em>. “Not just to how women experience the world, but how we experience ourselves. I started to ask myself: \u003cem>Who would I be if I didn’t live in a world that hated women?\u003c/em>”\u003c/p>\n\u003cp>I come back to that line often. And I came back to it after this performance, because this performance reminded me that blocking out misogynist messaging every day takes energy, and effort. That you’re not winning if you’re still doing all the work, that there are no medals for a job well done.\u003c/p>\n\u003cp>Perhaps most insidiously, these messages are so all-encompassing that you truly stop noticing: I can’t tell you how much of my brain is devoted to trying to prevent the most damaging kinds of misogyny from entering my body, because I don’t know, because I’ve been doing it as long as I’ve been alive. It’s as much a part of what it means to be a woman as knowing which street to walk home on late at night, gravitating toward streetlights and people and noise.\u003c/p>\n\u003cp>Where would that energy be going if it weren’t being used to construct an elaborate force field every day? Too bad I’ll never know.\u003c/p>\n\u003cfigure id=\"attachment_13844981\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844981\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/C-Project_4-800x600.jpg\" alt=\"Anne Carol Mitchell performs at 'Romantic Songs of the Patriarchy' while Laurie Lewis looks on at the Women's Building in San Francisco.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/C-Project_4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anne Carol Mitchell performs at ‘Romantic Songs of the Patriarchy’ while Laurie Lewis looks on at the Women’s Building in San Francisco. \u003ccite>(Lilja Gunnarsdóttir/Courtesy C Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Monday, I caught up with McKinley on the phone. She was resting. All the women are psychologically fine, she wants everyone to know, despite the obvious demands of the project. And she was mostly riding high from the experience: she talked about the camaraderie between performers. How important it was that the song selections were all popular, all love songs, all technically \u003cem>good\u003c/em> songs—nearly deified, in some cases. How powerful it felt—at a time when our leaders lie, when language feels like it’s failing, when our culture’s misogyny is more raw and exposed than it’s ever felt in our lifetime—to poke a hole in something so accepted. To pull back the curtain just a little on the canon.\u003c/p>\n\u003cp>Still, she broke down twice over the course of the weekend. She got used to people crying as they watched her sing, to the waves of pain as people recognized a song they loved as a conduit of trauma. She grew accustomed to feeling blank at times, a screen onto which attendees were projecting their own experiences. But there was one moment that caught her: she was singing “Girl You’ll Be a Woman Soon” when a couple of children, young girls, entered the room.\u003c/p>\n\u003cp>“Here’s this song that’s supposed to be romantic and seductive,” says McKinley. “And here are these girls, on the cusp of having to be subjected to this onslaught of bullshit, and having to develop the defenses necessary to survive.”\u003c/p>\n\u003cp>There were a few kids running around when I was there, too. “Cool parents,” I thought, at first. And I wondered how much, if any of this, they really grasped. I even questioned briefly if conversations like this one can push the needle—if pop music might be ever so slightly different by the time they were my age.\u003c/p>\n\u003cp>But McKinley’s right, of course: soon, in one way or another, they’ll understand.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On her long-awaited new album, \u003cem>Honey\u003c/em>, Robyn dances through the pain of a friend’s death and the dissolution of a long-term relationship, flying through the grief on glittering club beats that whisk her away like magic carpets.\u003c/p>\n\u003cp>That’s a sentiment we all need to take into 2019, as natural disasters decimate nearby communities, hate groups gain steam and the Trump administration continues to undermine various vulnerable populations’ civil rights. Perhaps the reason why Robyn’s latest work has been received with such fanfare (\u003cem>The New Yorker\u003c/em>‘s \u003ca href=\"https://www.newyorker.com/culture/culture-desk/honey-reviewed-robyn-has-returned-and-she-has-what-you-want\" target=\"_blank\" rel=\"noopener\">Jia Tolentino\u003c/a> likened the album to a club drug: “a substance that drastically increases your likelihood of dancing and crying simultaneously”) because of her sage ability to hold seemingly contradictory realities, acknowledging the devastation while using dance music as a catalyst to imagine a better tomorrow.\u003c/p>\n\u003cp>That brings us to the fact that Robyn is playing Oakland’s \u003ca href=\"https://thefoxoakland.com/events/robyn\" target=\"_blank\" rel=\"noopener\">Fox Theater\u003c/a> on Feb. 26, and tickets are sure to sell out instantly.\u003c/p>\n\u003cp>But wait! A presale for tickets, hosted by Another Planet, starts Thursday, Nov. 15, at 10am. Head to \u003ca href=\"https://www.ticketmaster.com/robyn-oakland-california-02-26-2019/event/1C00556BD6DF47A8?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener\">Ticketmaster\u003c/a>, click “Got an offer code?” and use the password \u003cb>\u003cstrong>dyafa\u003c/strong>\u003c/b> to unlock the presale. (Don’t be surprised if they go quickly.)\u003c/p>\n\u003cp>On Friday, Nov. 16, tickets go on sale to the general public at 10am.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On her long-awaited new album, \u003cem>Honey\u003c/em>, Robyn dances through the pain of a friend’s death and the dissolution of a long-term relationship, flying through the grief on glittering club beats that whisk her away like magic carpets.\u003c/p>\n\u003cp>That’s a sentiment we all need to take into 2019, as natural disasters decimate nearby communities, hate groups gain steam and the Trump administration continues to undermine various vulnerable populations’ civil rights. Perhaps the reason why Robyn’s latest work has been received with such fanfare (\u003cem>The New Yorker\u003c/em>‘s \u003ca href=\"https://www.newyorker.com/culture/culture-desk/honey-reviewed-robyn-has-returned-and-she-has-what-you-want\" target=\"_blank\" rel=\"noopener\">Jia Tolentino\u003c/a> likened the album to a club drug: “a substance that drastically increases your likelihood of dancing and crying simultaneously”) because of her sage ability to hold seemingly contradictory realities, acknowledging the devastation while using dance music as a catalyst to imagine a better tomorrow.\u003c/p>\n\u003cp>That brings us to the fact that Robyn is playing Oakland’s \u003ca href=\"https://thefoxoakland.com/events/robyn\" target=\"_blank\" rel=\"noopener\">Fox Theater\u003c/a> on Feb. 26, and tickets are sure to sell out instantly.\u003c/p>\n\u003cp>But wait! A presale for tickets, hosted by Another Planet, starts Thursday, Nov. 15, at 10am. Head to \u003ca href=\"https://www.ticketmaster.com/robyn-oakland-california-02-26-2019/event/1C00556BD6DF47A8?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener\">Ticketmaster\u003c/a>, click “Got an offer code?” and use the password \u003cb>\u003cstrong>dyafa\u003c/strong>\u003c/b> to unlock the presale. (Don’t be surprised if they go quickly.)\u003c/p>\n\u003cp>On Friday, Nov. 16, tickets go on sale to the general public at 10am.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Improviser Bill Orcutt's 'Brace Up!' Marks an Incredible Second Act",
"headTitle": "Improviser Bill Orcutt’s ‘Brace Up!’ Marks an Incredible Second Act | KQED",
"content": "\u003cp>Bill Orcutt, the brashly inventive guitarist and improviser, didn’t release a record or perform live for ten years. After the 1998 breakup of Harry Pussy, his combative noise-rock outfit beloved by better-known peers such as Sonic Youth, he moved from Florida to San Francisco to work in software and receded from the music scene, eventually swapping a Mission District apartment for a house in Sunnyside to accommodate his young family.\u003c/p>\n\u003cp>Orcutt made some electronic music at home but didn’t share it. He felt he’d already reached a creative peak. “I didn’t want to be in anyone else’s band,” says Orcutt, 56, over lunch in a Chinatown noodle joint recently. “I’d already had the band where I could do whatever I wanted.”\u003c/p>\n\u003cp>Yet the past decade has marked a renaissance for the soloist and collaborator, whose recent \u003cem>Brace Up!\u003c/em> full-length marks the latest scene in an incredible second act.\u003c/p>\n\u003cp>Orcutt’s hibernation ended in 2008, when he was asked to compile a Harry Pussy collection, prompting him to pick up his battered, four-string acoustic and rediscover the instrument’s physicality—the way gestural subtleties inflect its sound. He also grew inspired by a niche of YouTube users documenting their tics, or involuntary behaviors, which emboldened him creatively and shed light on his own artistic urges and fixations.\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=2094112072/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One woman compulsively touched things, saying it released tension between her and objects, which reminded Orcutt of tonal resolution in music. While improvising on guitar at home, he started vocalizing—or stopped trying not to—and recording the feverish abstractions and elliptical reveries. “I wanted to understand why they’d document and share these strange activities with people on the internet,” he says. “But eventually, I realized I was doing the same thing. I’d really been trying to understand myself.”\u003c/p>\n\u003cp>In the past ten years, Orcutt has developed a style by turns lashing and supple, lustrous and coarse, and recorded and performed with an esteemed cast of experimentalists including Alan Bishop (Sun City Girls), Okkyung Lee and Haley Fohr (Circuit des Yeux). The force and breadth of his work, with some help from his old group’s underground clout, has made him a standout fixture of the free music scene, appearing regularly in dives, far flung festivals and white-walled art spaces alike.\u003c/p>\n\u003cfigure id=\"attachment_13844844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-800x533.jpg\" alt=\"Orcutt is inspired by tic videos on YouTube.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orcutt is inspired by tic videos on YouTube. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Brace Up!\u003c/em>, an improvisational cauldron recorded with drummer Chris Corsano and out on Orcutt’s own \u003ca href=\"http://palilalia.com/\" target=\"_blank\" rel=\"noopener\">Palilalia Records\u003c/a> (named for an involuntary speech disorder), is \u003ca href=\"https://www.discogs.com/artist/626182-Bill-Orcutt\" target=\"_blank\" rel=\"noopener\">at least\u003c/a> the guitarist’s fifteenth full-length since he returned to the instrument. (The \u003ca href=\"https://www.facebook.com/events/286797338599335/\" target=\"_blank\" rel=\"noopener\">release show\u003c/a> is Thursday at the Center for New Music.) It’s another idiom-defiant entry in a catalog imbued with the thrill of precognitive expression.\u003c/p>\n\u003cp>The album, recorded amid a European tour last year, opens in frenetic fashion, with Orcutt’s undulating triplets colliding with Corsano’s clattering fills. The two merge to approximate a buzz saw attacking foil. They sometimes strike a woozy, ambling gait; occasionally open on to windswept space; and often upend Orcutt’s melodic clusters with frenzied mayhem. Orcutt seems to mew in delight when he lingers on poignant notes.\u003c/p>\n\u003cp>Corsano, another serial collaborator based on the East Coast, says playing with Orcutt leaves deep impressions on his own practice as an improviser. “He plays with conviction—it’s very \u003cem>convincing\u003c/em>,” Corsano emphasizes. “Bill leaves a residue, like when you look at a light and then you can see the outline of it on the inside of your eyelids. There’s always a new way that I relate to my instrument after hearing how he plays his.”\u003c/p>\n\u003cp>Orcutt, who has a salty beard and a closetful of pocketed black t-shirts, prizes spontaneity. Approvingly, he recalls a performance with the guitarist Loren Connors that started while he happened to be in another room. “I thought maybe we’d tune, but no.” He says that he made the collage on the cover of \u003cem>Brace Up!\u003c/em> in ten minutes after throwing away something more polished-looking. “I’ve done that a lot, actually.” (He also at first neglected to get one photographer’s permission, earning a cease-and-desist.)\u003c/p>\n\u003cp>https://youtu.be/puxj1gIZmh4\u003c/p>\n\u003cp>His song and album titles, meanwhile, generally evoke the cackling-straight-to-hell irreverence of Harry Pussy. The name of one full-length fancifully references the industry in which he makes a living: \u003cem>An Account of the Crimes of Peter Thiel and His Subsequent Arrest, Trial and Execution\u003c/em>. On Brace Up! alone, there’s zingers (“Clapton’s Complaint”), self-deprecation (“Bargain Sounds”), and, in one case, a song title befitting the track’s sense of romantic intoxication: “She Punched a Hole in the Moon for Me.”\u003c/p>\n\u003cp>Most of his recordings are fairly low-fidelity, often recorded with one microphone. When I ask about the clearer sound quality of recent titles, he quips, “I reserve the right to go back to making shitty-sounding records.” Part of the emphasis on unfiltered immediacy seems like an aversion to seeming self-serious. He is a wellspring of musical knowledge, but his choice in material to reinterpret (for example, “\u003ca href=\"https://billorcutt.bandcamp.com/album/a-history-of-every-one\" target=\"_blank\" rel=\"noopener\">White Christmas\u003c/a>”) skews towards what he called “middlebrow, core American garbage.” “I tend to be suspicious of good taste,” he says.\u003c/p>\n\u003cp>Orcutt is clearly savoring his privileged position as an artist. He answers to no record label, feels distant from the social aspect of the music scene and doesn’t expect, or need, to make a living from his work. Even though he felt creatively free in Harry Pussy, the music also to be “indecipherably complex or moronically simple,” he says. “Now when I’m playing, I’m going for joy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127869 aligncenter\" 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>\n\u003cp>\u003cem>Bill Orcutt performs at Center for New Music with Zachary James Watkins on Nov. 15. Details \u003ca href=\"https://www.facebook.com/events/286797338599335/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Orcutt, the brashly inventive guitarist and improviser, didn’t release a record or perform live for ten years. After the 1998 breakup of Harry Pussy, his combative noise-rock outfit beloved by better-known peers such as Sonic Youth, he moved from Florida to San Francisco to work in software and receded from the music scene, eventually swapping a Mission District apartment for a house in Sunnyside to accommodate his young family.\u003c/p>\n\u003cp>Orcutt made some electronic music at home but didn’t share it. He felt he’d already reached a creative peak. “I didn’t want to be in anyone else’s band,” says Orcutt, 56, over lunch in a Chinatown noodle joint recently. “I’d already had the band where I could do whatever I wanted.”\u003c/p>\n\u003cp>Yet the past decade has marked a renaissance for the soloist and collaborator, whose recent \u003cem>Brace Up!\u003c/em> full-length marks the latest scene in an incredible second act.\u003c/p>\n\u003cp>Orcutt’s hibernation ended in 2008, when he was asked to compile a Harry Pussy collection, prompting him to pick up his battered, four-string acoustic and rediscover the instrument’s physicality—the way gestural subtleties inflect its sound. He also grew inspired by a niche of YouTube users documenting their tics, or involuntary behaviors, which emboldened him creatively and shed light on his own artistic urges and fixations.\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=2094112072/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One woman compulsively touched things, saying it released tension between her and objects, which reminded Orcutt of tonal resolution in music. While improvising on guitar at home, he started vocalizing—or stopped trying not to—and recording the feverish abstractions and elliptical reveries. “I wanted to understand why they’d document and share these strange activities with people on the internet,” he says. “But eventually, I realized I was doing the same thing. I’d really been trying to understand myself.”\u003c/p>\n\u003cp>In the past ten years, Orcutt has developed a style by turns lashing and supple, lustrous and coarse, and recorded and performed with an esteemed cast of experimentalists including Alan Bishop (Sun City Girls), Okkyung Lee and Haley Fohr (Circuit des Yeux). The force and breadth of his work, with some help from his old group’s underground clout, has made him a standout fixture of the free music scene, appearing regularly in dives, far flung festivals and white-walled art spaces alike.\u003c/p>\n\u003cfigure id=\"attachment_13844844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-800x533.jpg\" alt=\"Orcutt is inspired by tic videos on YouTube.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BillOrcut.Backyard-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orcutt is inspired by tic videos on YouTube. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Brace Up!\u003c/em>, an improvisational cauldron recorded with drummer Chris Corsano and out on Orcutt’s own \u003ca href=\"http://palilalia.com/\" target=\"_blank\" rel=\"noopener\">Palilalia Records\u003c/a> (named for an involuntary speech disorder), is \u003ca href=\"https://www.discogs.com/artist/626182-Bill-Orcutt\" target=\"_blank\" rel=\"noopener\">at least\u003c/a> the guitarist’s fifteenth full-length since he returned to the instrument. (The \u003ca href=\"https://www.facebook.com/events/286797338599335/\" target=\"_blank\" rel=\"noopener\">release show\u003c/a> is Thursday at the Center for New Music.) It’s another idiom-defiant entry in a catalog imbued with the thrill of precognitive expression.\u003c/p>\n\u003cp>The album, recorded amid a European tour last year, opens in frenetic fashion, with Orcutt’s undulating triplets colliding with Corsano’s clattering fills. The two merge to approximate a buzz saw attacking foil. They sometimes strike a woozy, ambling gait; occasionally open on to windswept space; and often upend Orcutt’s melodic clusters with frenzied mayhem. Orcutt seems to mew in delight when he lingers on poignant notes.\u003c/p>\n\u003cp>Corsano, another serial collaborator based on the East Coast, says playing with Orcutt leaves deep impressions on his own practice as an improviser. “He plays with conviction—it’s very \u003cem>convincing\u003c/em>,” Corsano emphasizes. “Bill leaves a residue, like when you look at a light and then you can see the outline of it on the inside of your eyelids. There’s always a new way that I relate to my instrument after hearing how he plays his.”\u003c/p>\n\u003cp>Orcutt, who has a salty beard and a closetful of pocketed black t-shirts, prizes spontaneity. Approvingly, he recalls a performance with the guitarist Loren Connors that started while he happened to be in another room. “I thought maybe we’d tune, but no.” He says that he made the collage on the cover of \u003cem>Brace Up!\u003c/em> in ten minutes after throwing away something more polished-looking. “I’ve done that a lot, actually.” (He also at first neglected to get one photographer’s permission, earning a cease-and-desist.)\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/puxj1gIZmh4'\n title='//www.youtube.com/embed/puxj1gIZmh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His song and album titles, meanwhile, generally evoke the cackling-straight-to-hell irreverence of Harry Pussy. The name of one full-length fancifully references the industry in which he makes a living: \u003cem>An Account of the Crimes of Peter Thiel and His Subsequent Arrest, Trial and Execution\u003c/em>. On Brace Up! alone, there’s zingers (“Clapton’s Complaint”), self-deprecation (“Bargain Sounds”), and, in one case, a song title befitting the track’s sense of romantic intoxication: “She Punched a Hole in the Moon for Me.”\u003c/p>\n\u003cp>Most of his recordings are fairly low-fidelity, often recorded with one microphone. When I ask about the clearer sound quality of recent titles, he quips, “I reserve the right to go back to making shitty-sounding records.” Part of the emphasis on unfiltered immediacy seems like an aversion to seeming self-serious. He is a wellspring of musical knowledge, but his choice in material to reinterpret (for example, “\u003ca href=\"https://billorcutt.bandcamp.com/album/a-history-of-every-one\" target=\"_blank\" rel=\"noopener\">White Christmas\u003c/a>”) skews towards what he called “middlebrow, core American garbage.” “I tend to be suspicious of good taste,” he says.\u003c/p>\n\u003cp>Orcutt is clearly savoring his privileged position as an artist. He answers to no record label, feels distant from the social aspect of the music scene and doesn’t expect, or need, to make a living from his work. Even though he felt creatively free in Harry Pussy, the music also to be “indecipherably complex or moronically simple,” he says. “Now when I’m playing, I’m going for joy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127869 aligncenter\" 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>\n\u003cp>\u003cem>Bill Orcutt performs at Center for New Music with Zachary James Watkins on Nov. 15. Details \u003ca href=\"https://www.facebook.com/events/286797338599335/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> is known as the Bay Area’s “cool church” (earlier this year, its pews were packed for a \u003ca href=\"https://www.kqed.org/pop/103388/how-a-beyonce-themed-mass-got-an-atheist-to-believe-in-something\" rel=\"noopener\" target=\"_blank\">Beyoncé-themed mass\u003c/a>). This week, the San Francisco institution continues to push boundaries with composer \u003ca href=\"http://www.holcombewaller.com/\" target=\"_blank\" rel=\"noopener\">Holcombe Waller\u003c/a>‘s \u003ca href=\"https://www.ybca.org/whats-on/requiem-mass-a-queer-divine-rite\" target=\"_blank\" rel=\"noopener\">\u003cem>Requiem Mass: A Queer Divine Right\u003c/em>\u003c/a>, a choral work that honors those who’ve been persecuted because of their sexual orientation or gender identity.[contextly_sidebar id=”19vgXufql5CO4NftpBfDWh3b0uRd8NZd”]\u003c/p>\n\u003cp>Co-presented by Yerba Buena Center for the Arts and Ghiberti Foundation, the piece features an all-abilities volunteer choir (which includes KQED’s Chloe Veltman) and takes place Nov. 16 and 17 at 7:30pm. Waller, a composer, singer and performance artist who previously scored the film \u003cem>We Were Here: Voices from the AIDS Years in San Francisco\u003c/em>, created the emotional work based on research into the gay rights movement from the 1980s, when the AIDS epidemic ravaged the LGBTQ community, to today.\u003c/p>\n\u003cp>Grace Cathedral has long been a beacon of inclusivity; in 1965, Martin Luther King, Jr. preached a sermon that called for racial equality and empathy with the Civil Rights movement. With people around the country—and world—still using Christianity as a pretext to discriminate against the LGBTQ community, \u003cem>Requiem Mass: A Queer Divine Right \u003c/em>makes a powerful statement of solidarity and acceptance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a> is known as the Bay Area’s “cool church” (earlier this year, its pews were packed for a \u003ca href=\"https://www.kqed.org/pop/103388/how-a-beyonce-themed-mass-got-an-atheist-to-believe-in-something\" rel=\"noopener\" target=\"_blank\">Beyoncé-themed mass\u003c/a>). This week, the San Francisco institution continues to push boundaries with composer \u003ca href=\"http://www.holcombewaller.com/\" target=\"_blank\" rel=\"noopener\">Holcombe Waller\u003c/a>‘s \u003ca href=\"https://www.ybca.org/whats-on/requiem-mass-a-queer-divine-rite\" target=\"_blank\" rel=\"noopener\">\u003cem>Requiem Mass: A Queer Divine Right\u003c/em>\u003c/a>, a choral work that honors those who’ve been persecuted because of their sexual orientation or gender identity.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Co-presented by Yerba Buena Center for the Arts and Ghiberti Foundation, the piece features an all-abilities volunteer choir (which includes KQED’s Chloe Veltman) and takes place Nov. 16 and 17 at 7:30pm. Waller, a composer, singer and performance artist who previously scored the film \u003cem>We Were Here: Voices from the AIDS Years in San Francisco\u003c/em>, created the emotional work based on research into the gay rights movement from the 1980s, when the AIDS epidemic ravaged the LGBTQ community, to today.\u003c/p>\n\u003cp>Grace Cathedral has long been a beacon of inclusivity; in 1965, Martin Luther King, Jr. preached a sermon that called for racial equality and empathy with the Civil Rights movement. With people around the country—and world—still using Christianity as a pretext to discriminate against the LGBTQ community, \u003cem>Requiem Mass: A Queer Divine Right \u003c/em>makes a powerful statement of solidarity and acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A few weeks before the release of Russell E.L. Butler’s long-awaited album, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, the Oakland techno luminary is feeling nostalgic. Butler grew up in Bermuda, a tiny British territory with a majority-black population, in a house full of books. So, for our interview, Butler invites me to meet up at Marcus Books, the oldest black-owned bookstore in the United States and a stone’s throw from the first apartment the artist lived in after settling in Oakland in 2009.\u003c/p>\n\u003cp>Butler first came to Marcus Books a few years ago to drop off donations for a book drive a friend organized for San Quentin inmates. “It felt like something I’d been missing for a long time, this cultural experience,” says Butler as we stand outside the store, next to a mural of a rifle-toting Malcolm X. “These places that center our creativity are invaluable, especially in this age where you can hit ‘add to cart’ and hit ‘subscribe’ and you’re getting your monthly re-up of books.”\u003c/p>\n\u003cp>Butler’s dad, the author \u003ca href=\"http://bernews.com/2016/12/dale-butler-releases-bermuda-nicknames-book/\" target=\"_blank\" rel=\"noopener\">Dale Butler\u003c/a>, devoted his career to chronicling Bermuda’s distinct culture and history at a time when, as often happens in colonized places with melting-pot demographics, inhabitants questioned whether a unique local culture truly exists. “There’s a lot of people back home that talk about Bermudians not having culture, but they’re so culturally rich,” says Butler. “[My dad] felt this obligation to document this stuff so that wouldn’t be an excuse for people.”\u003c/p>\n\u003cp>The younger Butler’s music is rooted in similar ambitions of advocacy through creativity. But \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is less about cultural preservation and more about actively shaping culture in real time—in Butler’s case, working toward a culture that takes care of queer and trans people, black people, immigrants, low-income folks and artists.\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/\" href=\"http://lefthandpathwax.bandcamp.com/album/the-home-id-build-for-myself-and-all-my-friends\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Butler (who uses the pronoun they), a safe space isn’t just some abstract ideal—it’s a material need. They’re an affiliate of Club Chai, the queer- and trans-forward Bay Area club music collective rooted in global rhythms that slip easily between genres and borders. Club Chai grew out of a warehouse scene that Butler became immersed in upon moving to Oakland after graduating from School of the Museum of Fine Arts at Tufts University. It’s the same underground electronic music scene that suffered an immense loss in the 2016 Ghost Ship fire. [contextly_sidebar id=”Tz9nt8MIrN9kA7tinlDJwpLwAVR5RktK”]\u003c/p>\n\u003cp>Butler was slated to perform that night on Dec. 2, 2016, but happened to be outside the East Oakland artist warehouse when it went up in flames. Sadly, they lost 17 of their friends, many of whom were queer and trans underground electronic musicians.\u003c/p>\n\u003cp>The music Butler has released since speaks to the artist’s difficult healing process. “I’m 32 and I’m just like, cool, what else life? What else, yo?” Butler tells me as we browse Octavia Butler’s apocalyptic science fiction at Marcus. “I survived all these things I thought would kill me. What now?”\u003c/p>\n\u003cp>In early 2017, Butler released an EP, \u003cem>I’m Dropping Out of Life\u003c/em>, which was already in the works before the Ghost Ship fire; Butler had been workshopping two of the tracks in a producers’ meetup group run by Chelsea Faith Dolan, a.k.a. Cherushii, a beloved local house musician who died at Ghost Ship. While in the liner notes, Butler specified that the life they’re dropping out of is an \u003cem>uninspired\u003c/em> one, alluding to the need to seize the day, the record’s sentiment was decidedly dour compared to the emphasis on creation and possibility for \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, which comes out on Nov. 15 through San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a>. [contextly_sidebar id=”d9yBi2RWNkULQlpCi1PB0QKrPRL9jGBK”]\u003c/p>\n\u003cp>That said, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em> isn’t the soothing music of an imagined utopia: sonically, it manifests many of the tensions and struggles of everyday life in a polarized place like Oakland—where luxury apartments are jarringly juxtaposed next to homeless encampments, and violence is as enmeshed in the day-to-day as art and music. Not traditional techno by any means, Butler’s tracks sound like they’re wrestling, fighting. Fat bass lines jut out like springs; eerie synth notes creep, like an approaching shadow in one’s peripheral vision, with a tension that never quite dissipates.\u003c/p>\n\u003cp>“It’s not to elicit this feeling for foreboding or negativity—it’s in order to elicit this extreme complexity, and feeling overwhelmed,” Butler says. “Because of the album’s name and its look, I thought a lot about, if I’m trying to create this space, am I at all served by thinking of it in a utopic fashion? … I’m creating this idealistic space, but that doesn’t mean there isn’t a breadth and depth of feeling in that. It isn’t all sunshine and rainbows and shit. It’s hard work and struggle.”\u003c/p>\n\u003cfigure id=\"attachment_13844582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg\" alt=\"Russell E.L. Butler. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russell E.L. Butler. \u003ccite>(Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This ability to hold seemingly contradictory realities at once stems from Butler’s life experiences as a queer, non-binary immigrant. They’re used to often being the first: the first Bermudan person people meet in Oakland, the first person who uses “they/them” pronouns someone encounters, the first black person who isn’t African American. For a long time, as their star rose in the local scene, they felt isolated constantly having to translate their identity to strangers. But eventually, they shifted their perspective and began to view their unique circumstances as a position of possibility to move the culture forward.\u003c/p>\n\u003cp>“In my knowledge and my upbringing at the very least, I didn’t learn about people doing what I’m doing, who look like me and are from where I’m from, who were involved in any measure of this shit at all,” says Butler. “I have some trepidation saying I’m the first X, but a lot of the time I am. And that comes with a lot of responsibility I take really seriously.”\u003c/p>\n\u003cp>This sense of responsibility means forging new paths, new ways of thought, for the lofty ambition of building a more equitable society, Butler says. On \u003cem>The Home I’d Build for Myself and All My Friends,\u003c/em> techno is the language Butler uses to bring these new realities into being.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Butler tells me, “I’m forging the history of my people as I’m creating it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks before the release of Russell E.L. Butler’s long-awaited album, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, the Oakland techno luminary is feeling nostalgic. Butler grew up in Bermuda, a tiny British territory with a majority-black population, in a house full of books. So, for our interview, Butler invites me to meet up at Marcus Books, the oldest black-owned bookstore in the United States and a stone’s throw from the first apartment the artist lived in after settling in Oakland in 2009.\u003c/p>\n\u003cp>Butler first came to Marcus Books a few years ago to drop off donations for a book drive a friend organized for San Quentin inmates. “It felt like something I’d been missing for a long time, this cultural experience,” says Butler as we stand outside the store, next to a mural of a rifle-toting Malcolm X. “These places that center our creativity are invaluable, especially in this age where you can hit ‘add to cart’ and hit ‘subscribe’ and you’re getting your monthly re-up of books.”\u003c/p>\n\u003cp>Butler’s dad, the author \u003ca href=\"http://bernews.com/2016/12/dale-butler-releases-bermuda-nicknames-book/\" target=\"_blank\" rel=\"noopener\">Dale Butler\u003c/a>, devoted his career to chronicling Bermuda’s distinct culture and history at a time when, as often happens in colonized places with melting-pot demographics, inhabitants questioned whether a unique local culture truly exists. “There’s a lot of people back home that talk about Bermudians not having culture, but they’re so culturally rich,” says Butler. “[My dad] felt this obligation to document this stuff so that wouldn’t be an excuse for people.”\u003c/p>\n\u003cp>The younger Butler’s music is rooted in similar ambitions of advocacy through creativity. But \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is less about cultural preservation and more about actively shaping culture in real time—in Butler’s case, working toward a culture that takes care of queer and trans people, black people, immigrants, low-income folks and artists.\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/\" href=\"http://lefthandpathwax.bandcamp.com/album/the-home-id-build-for-myself-and-all-my-friends\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Butler (who uses the pronoun they), a safe space isn’t just some abstract ideal—it’s a material need. They’re an affiliate of Club Chai, the queer- and trans-forward Bay Area club music collective rooted in global rhythms that slip easily between genres and borders. Club Chai grew out of a warehouse scene that Butler became immersed in upon moving to Oakland after graduating from School of the Museum of Fine Arts at Tufts University. It’s the same underground electronic music scene that suffered an immense loss in the 2016 Ghost Ship fire. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Butler was slated to perform that night on Dec. 2, 2016, but happened to be outside the East Oakland artist warehouse when it went up in flames. Sadly, they lost 17 of their friends, many of whom were queer and trans underground electronic musicians.\u003c/p>\n\u003cp>The music Butler has released since speaks to the artist’s difficult healing process. “I’m 32 and I’m just like, cool, what else life? What else, yo?” Butler tells me as we browse Octavia Butler’s apocalyptic science fiction at Marcus. “I survived all these things I thought would kill me. What now?”\u003c/p>\n\u003cp>In early 2017, Butler released an EP, \u003cem>I’m Dropping Out of Life\u003c/em>, which was already in the works before the Ghost Ship fire; Butler had been workshopping two of the tracks in a producers’ meetup group run by Chelsea Faith Dolan, a.k.a. Cherushii, a beloved local house musician who died at Ghost Ship. While in the liner notes, Butler specified that the life they’re dropping out of is an \u003cem>uninspired\u003c/em> one, alluding to the need to seize the day, the record’s sentiment was decidedly dour compared to the emphasis on creation and possibility for \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, which comes out on Nov. 15 through San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That said, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em> isn’t the soothing music of an imagined utopia: sonically, it manifests many of the tensions and struggles of everyday life in a polarized place like Oakland—where luxury apartments are jarringly juxtaposed next to homeless encampments, and violence is as enmeshed in the day-to-day as art and music. Not traditional techno by any means, Butler’s tracks sound like they’re wrestling, fighting. Fat bass lines jut out like springs; eerie synth notes creep, like an approaching shadow in one’s peripheral vision, with a tension that never quite dissipates.\u003c/p>\n\u003cp>“It’s not to elicit this feeling for foreboding or negativity—it’s in order to elicit this extreme complexity, and feeling overwhelmed,” Butler says. “Because of the album’s name and its look, I thought a lot about, if I’m trying to create this space, am I at all served by thinking of it in a utopic fashion? … I’m creating this idealistic space, but that doesn’t mean there isn’t a breadth and depth of feeling in that. It isn’t all sunshine and rainbows and shit. It’s hard work and struggle.”\u003c/p>\n\u003cfigure id=\"attachment_13844582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg\" alt=\"Russell E.L. Butler. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russell E.L. Butler. \u003ccite>(Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This ability to hold seemingly contradictory realities at once stems from Butler’s life experiences as a queer, non-binary immigrant. They’re used to often being the first: the first Bermudan person people meet in Oakland, the first person who uses “they/them” pronouns someone encounters, the first black person who isn’t African American. For a long time, as their star rose in the local scene, they felt isolated constantly having to translate their identity to strangers. But eventually, they shifted their perspective and began to view their unique circumstances as a position of possibility to move the culture forward.\u003c/p>\n\u003cp>“In my knowledge and my upbringing at the very least, I didn’t learn about people doing what I’m doing, who look like me and are from where I’m from, who were involved in any measure of this shit at all,” says Butler. “I have some trepidation saying I’m the first X, but a lot of the time I am. And that comes with a lot of responsibility I take really seriously.”\u003c/p>\n\u003cp>This sense of responsibility means forging new paths, new ways of thought, for the lofty ambition of building a more equitable society, Butler says. On \u003cem>The Home I’d Build for Myself and All My Friends,\u003c/em> techno is the language Butler uses to bring these new realities into being.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jeff Goldblum The Jazz Artist? Life, Uh, Finds A Way",
"headTitle": "Jeff Goldblum The Jazz Artist? Life, Uh, Finds A Way | KQED",
"content": "\u003cp>When he’s not busy on a movie set, Jeff Goldblum owns Wednesday nights in Los Angeles.\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/664380882/666038529\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The actor, known for roles in Hollywood blockbusters and a singular, chin-stroking comic persona, plays piano in a jazz band with a standing weekly gig, which he calls The Mildred Snitzer Orchestra. The performances are casual and unstructured, with the man of the hour playing keys one moment, holding court and posing for photos with attendees the next, just generally being … well, Jeff Goldblum.\u003c/p>\n\u003cp>[contextly_sidebar id=”cC8tpilx6wNodlavn9rqJiyEMm49iTkO”]\u003c/p>\n\u003cp>NPR’s David Greene joined Goldblum to talk about \u003cem>The Capitol Studios Sessions\u003c/em>, an album that captures the live show by recreating it — bringing a stage, a buffet, a live audience and guest stars including comedian Sarah Silverman into the storied recording space.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On discovering jazz as a teenager\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of these chords started to do something to me that I hadn’t experienced before, and that was just delicious to me — when I discovered that blues scale, my God. So I learned a little bit about that, and got to start to play things. And then — listen to this, what a strange boy I was — one day when I was 15, I locked the door from the inside in our study, where I didn’t think anybody would find me, hear me or bother me. Got the yellow pages, looked up cocktail lounges, and starting with A and going down to Z, I cold-called. I thought I was some kind of scammy salesman or something like that. And I said, “Hi, I understand you need a piano player.” Most of them would say, “No, you’ve been misinformed” — hang up on you. [But] some would say, “Well, jeez … we have a piano. Nobody’s been playing it. You play?” And so I did, and I got a couple of jobs. It was magical.\u003c/p>\n\u003cp>\u003cstrong>On how his two creative practices affect one another\u003c/strong>\u003c/p>\n\u003cp>There’s a cross-training aspect of this, so that my music, I’m just doing it for fun, without nerves really. It has bled over into my acting experience. … I didn’t [used to] feel like a fraud exactly, but I felt like I had to shock myself into functionality. I felt I had to rearrange my molecules and achieve some kind of condition of freedom or aliveness, in order to be worthy of participation in some show or another. The seeds of me knowing myself were there, but it was unformed and underdeveloped, and I had good reason to be scared.\u003c/p>\n\u003cp>\u003cstrong>On the social element of his jazz shows\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It has become kind of an improvised show, where I commune with people and meet them, and interesting people show up. It’s kind of a living room experience that we turn it into. No one’s turning on the lights or introducing me; I kind of start talking and taking pictures with them and finding out who they are and playing games with them, which I like to do. Everything is sort of playful. … People seem to get a kick out of it. And then I go on my Instagram account the next day, see if they’ve posted anything … see how I looked the night before, see how they looked. See if they’re people I can remember. “Oh, yeah. They were nice.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jeff+Goldblum+The+Jazz+Artist%3F+Life%2C+Uh%2C+Finds+A+Way&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "At his weekly gigs in L.A. — and now on a new live album — you'll find the actor playing keys one moment, holding court with attendees the next and just generally being ... well, Jeff Goldblum.",
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"content": "\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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